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mysticmachmir · 4 years

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Judaism: Solstices and Equinoxes

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Overview

Judaism runs on a lunar calendar, for example, all our holidays start at sundown. So, this means that the changes of the seasons which are based on a solar calendar do not have as much prominence as the phases of the moon. However, in the Jewish Pre-Talmudic text the Book of Jubilees, we see an alternate Jewish solar calendar. In the end, it was not chosen for what our system is based on - but the Rabbis do talk about the solstices and equinoxes within the Talmud (Berakhot 59b, Shabbat 53a, Eruvin 56a). The word for these four seasons marked by these events is "Tekufot" (tekufah in the singular) which literally means "turn" or "cycle" in Hebrew. According to the sages, each tekufah marks the beginning of a period of 91 days 7½ hours. Tekufot are not necessarily positive events, associated with some negative superstitions. However, there are some different recorded Midrashim that have positive or neutral associations, along with a blessing that can be used to acknowledge them (though this is a minority opinion in the Babylonian Talmud, majority rules this was not necessary). While there is no exact answer, there is some speculation that the four new years within Judaism may be marking the four solar transitions within the year, but some of them are at half-points and not accurately aligned.

Superstitions

An ancient superstition connected with the tekufot is surrounding water. All water that may be in the house or stored away in vessels in the first hour of the tekufah is thrown away in the belief that the water is then poisoned, and if drunk would cause swelling of the body, sickness, and sometimes death. One of the reasons it is said is because the angels who guard and are the protectors of the year "change shifts" at every solar transition, so water is left unguarded. Another is that Cancer fights with Libra and drops blood into the water. Another reason is that at every tekufah, blood has been shed in our spiritual history. At Tekufat Nissan, the waters in Egypt turned to blood. At Tekufat Tammuz, Moshe smote the rock and caused drops of blood to flow from it. At Tekufat Tishrei the knife which Avraham held to slay Yitzchak dropped blood. Finally, at Tekufat Tevet, Yiftach sacrificed his daughter. It is not only against kashrut laws to ingest blood, but there is a lot of superstition around keeping life and death separated in many of our rituals. To avoid this issue with unused water, one must put a piece of iron within it or put it in an iron vessel. If you are making matzot on Tekufat Nisan, you must use a new iron nail and lower it by a string into the water first.

There is no traceable origin of this superstition, but in the 10th-century Rabbis asked about these questions and discussed it, meaning it was widespread even then.

Blessing

In Berakhot 59b, the sages say: "One who sees the sun in her tekufah, or the moon in her power, or the stars in their orbits, recites: Blessed is the one who makes Creation' (baruch oseh vereshit)." Abaye argues this should only be done every 29 years when the spring equinox falls so that the sun is in the same place it was on the day of Creation. However, the minority opinion was still written, so you could make the choice to recite it in the astrological events mentioned.

Havdalah ha-Tekufah

This blessing may be recited over a cup of wine or grape juice on the day of the equinox or solstice. This prayer also may be recited along with a blessing over a scent related to the season, for example, flowers for spring, fruit for summer, leaves for fall, and pine boughs for winter. It is based on the following texts:

The Havdalah ceremony dividing Shabbat from the weekday.

The blessing over equinoxes and solstices found in the Babylonian Talmud (Berakhot 59b).

The traditional evening prayer marking the transition between day and night.

The Torah text in which the Holy One promises Noach that the seasons will continue as long as the earth endures (Bereishit 8:22).

The blessings over the abundance of years found in the daily Amidah prayer (recited in the feminine to honor the Skehinah, the immanent Divine Presence).

Baruch atah Hashem Elokeinu melekh ha'olam borei peri ha'gafen.

Blessed are You, Hashem, Ruler of the Universe, creator of the fruit of the vine.

Bercuchah at Shekhinah Elokeinu ruach ha'olam, borei isvei (atzei) vesamim.

Blessed are You, Shekhinah, the Presence who embodies the world, who creates fragrant plants and grasses (or: fragrant trees).

Baruch atah Hashem Elokeinu melekh ha'olam, oseh vereishit, asher bit'vunah meshaneh itim umachalif et hazemanim. Od kol yemei ha'aretz zera vekatzir vekor vechom vekayitz vechoref veyom velailah lo yishbotu. Bercuhah at Shekhinah, mevarechet hashanim.

Blessed are you, Hashem, Ruler of the Universe, who makes Creation, whose wisdom changes the times and turns the seasons. As long as the days of the earth endure, planting and harvest, cold and heat, summer and winter, day and night shall not cease. Blessed are You, Divine Presence, who blesses the years.

Midrashim and Teachings

Pirkei de-Rabbi Eliezer, a Rabbinic work, tells of the teaching of tekufot to Adam and Chava as part of divine wisdom. Pirkei de-Rabbi Eliezer (7) also notes the combination of lunar and solar elements in the Jewish calendar. The passage explains that Rabbinic authorities inserted leap months in the calendar "for the sake of the trees, for the sake of the grasses, and for the sake of the tekufot," meaning that the lunar calendar had to be balanced with the cycles of planting and harvest and with the cycles of the solar year.

Medieval traditions about the tekufot emphasized the eerie qualities of the solstices and equinoxes. The Machzor Vitry indicates the frightening biblical events such as the plague of blood that happened at the four seasonal transitions.

The Otzar Midrashim (Hashem Behomah, Yasad Aretz 6) mentions a more positive midrash in which giant mythical beings and animals roar on each of the four seasonal dates. These roars compel the demons and wild creatures of the world to restrain themselves so that order prevails and life continues. Thus they encourage all beings to praise the compassion of the Divine. This midrash suggests that the solstices and equinoxes have both frightening and life-preserving qualities.

Midrash Tanhuma (Korach 10) tells us that the chieftains of Moshe were selected partly because they knew how to calculate and observe the tekufot.

Tekufat Nisan

Tekufat Nisan is the vernal equinox when the Sun enters Aries; this is the beginning of spring, or "eit hazera" (seed-time) when day and night are equal. It is also known as the season of "the triumph of life".

Jubilees (6:25) records the 1st of Nisan as the day the Divine commanded Noach to build an ark and the day Noach opened the ark and saw dry land.

Seder Olam (11:1), a work from Talmudic times, relates that the new moon of Nissan, the day the Holy Ones gives the calendar to Moshe in preparation for the first celebration of Pesach, is also the spring equinox.

The ancient midrashic collection Peskita Rabbati (15:17), on the other hand, suggests the day of the Exodus was the spring equinox.

In the Machzor Vitry, the spring equinox is the day the first plague, the plague of blood, falls upon Mitzrayim.

In Otzar Midrashim (Hashem Behomah, Yasad Aretz 6), the spring equinox is the day when humans receive protection from demons and evil spirits. On that day, the seraphim "lift up their heads to the heaven, and the fear of them falls upon demons and spirits, and the seraphim shelter humans beneath their wings to hide them from the demons."

The Purim holiday falls near the spring equinox. Its heroine, Esther, reveals herself as a Jew to save her people.

These tales associate the spring equinox with freedom, with divine protection from oppressor or danger, and with life. in spring, the young plants bursting forth from the ground need protection and room to grow, and we ask this blessing for ourselves as well.

Kavanot la-Tekufot: "Arise, my beloved, my fair one, come away, for now the winter is past, the rains are over and gone, the blossoms appear in the land, the time of singing has come, and the song of the dove is in heard in our land." -- Shir haShirim 2:10-12

Tekufat Tammuz

Tekufat Tammuz is the summer solstice when the Sun enters Cancer; this is the summer season, or "et ha-katsir" (harvest-time) when the day is the longest in the year. It is also known as the season of "loss and abundance".

In Jubilees (6:26), the story of Noach's flood, the summer solstice is the day the mouths of the great abyss are closed so that the water ceases pouring onto the earth.

Jubilees (3:32) also names the summer solstice as the day the Divine exiles Adam and Chava from Gan Eden. This is the day the animals lose their power of speech.

In Seder Olam (11;1), we learn that the day the sun stood still so that Yehoshuah's warriors could win the battle of Gibeon was the summer solstice.

In Genesis Rabbah (6:6), we learn that "on the summer solstice no creation has a shadow."

In the Machzor Vitry, the summer solstice is the day Moshe strikes a rock in anger while seeking water for the people. The Eternal tells Moshe he will never enter Eretz Yisrael as a result of his actions.

In Otzar Midrashim (Hashem Behohmah, Yasad Aretz 6), the summer solstice is the day animals receive protection from their predators. On that day, "the Holy One puts strength in the Behemoth and it becomes strong and raises its head and cries out, and its voice extends through all the settled land, and the wild animals hear and are afraid."

In Jewish tradition, the summer solstice carries with it themes of closure, exile, and loss, yet also the benevolence of nature and the divine. We meditate on grief, yet also on the world's abundance. The summer solstice is a day of paradox: maximum light but also a turn toward darkness.

Kavanot la-Tekufot: "A day is coming that burns like a furnace … I will shine upon you who revere the name of the Infinite a sun of righteousness, with healing in Her wings." -- Malachi 3:19-20

Summer Solstice Rituals: http://telshemesh.org/tammuz/a_jewish_summer_solstice_ritual.html https://www.ritualwell.org/ritual/meditation-tekufat-tammuz https://www.ritualwell.org/ritual/earth-prays

Tekufat Tishrei

Tekufat Tishrei, the autumnal equinox, when the sun enters Libra, and autumn, or "et ha-batsir" (vintage-time), begins, and when the day again equals the night. It is also known as the season of "the link between earth and heaven".

Jubilees (6:26), in its story of the Flood, records the autumn equinox as the day the floodwaters begin to descend back into the depths so that the earth can be fruitful once again.

On the autumn equinox, Avraham sits up all night to observe the stars, to forecast the rains of the coming season (Jubilees 12:16).

In the Machzor Vitry, the autumn equinox is the day Avraham nearly sacrifices Yitzchak on Mount Moriah, before the Divine stays his hand. Because of his act, Avraham is blessed that his seed will be as the stars in the sky.

According to the Babylonian Talmud (Rosh Hashanah 10b), Sarah, Rakhel, and Channah all conceived on the 1st of Tishrei, a date close to the autumn equinox.

In Otzar Midrashim (Hashem Behohmah, Yasad Aretz 6), the autumn equinox is the season of the ziz, when birds receive protection from their predators. "On the autumn equinox, the Holy One gives strength to the ziz and it becomes strong, and it lifts is head and flaps its winds and sends forth its voice, so that fear of it falls on the culture and the osprey from one year to the next."

The autumn equinox seems related to the skies, the stars, and the rains. Yet it is also related to fertility and to the renewal of life. In many climates, autumn is a season of harvest and of rain. Perhaps the autumn equinox is the time of reforging the lin between earth and heaven- a link necessary for life to continue.

Kavanot la-Tekufot: "May it be Your will that it be a year of rain and dew, a year of favor, a year of blessing, and a year of abundance … and please do not listen to the prayers of those who pray that there be no rain!" -- Leviticus Rabbah 20:44

Tekufat Tevet

Tekufat Tevet is the winter solstice when the sun enters Capricorn; this is the beginning of winter, or "et ha-ḥoref" (winter-time), when the night is the longest during the year. It is also known as the season for "the search for light".

In Jubilees (7), in the days of Noach, the winter solstice is the day the peaks of the mountains became visible after the floodwaters recede.

In the Babylonian Talmud (Avodah Zarah 8a), Adam and Chava become frightened as the winter solstice approaches, thinking the shortening of the days is a punishment. They fast for eight days. On the winter solstice, when the light grows, they celebrate for eight days.

In the Machzor Vitry, the winter solstice is the day Yiftach, a chieftain of Yisrael, sacrifices his daughter in fulfillment of a foolish battle vow. She has been bewailing her fate on the hills for two months.

Otzah Midrashim (Hashem Behohmah, Yasad Aretz 6), tells that on the winter solstice, Leviathan protects the creatures of the sea from their predators: "On every winter solstice he lifts his head and makes himself great, and blows in the water, and roils the sea, and makes all the fish in the ocean afraid." Leviathan is a creature known for being G!d's playmate (Babylonian Talmud, Avodah Zarah 3b) and a wise teacher of human beings (Otzar Midrashim Alphabet of Ben Sira 17). His eyes, according to the Talmud, flash in the deep (Bava Batra 74b).

The winter solstice seems to have to do with sight or the lack thereof. Mountains become visible to Noach, and the patterns of nature become visible to Adam and Chava. Leviathan is associated with inner sight. Yiftach, on the other hand, is blind to his own wrongdoings. On the winter solstice, the sun's light begins to become stronger, and we too consider how to strengthen our vision.

Kavanot la-Tekufot: "We are grateful before You, Eternal One, for You have brought us from darkness to light." -- Midrash Bereshit 68:11

Winter Solstice Rituals: http://telshemesh.org/tevet/winter_solstice_take_2.html http://telshemesh.org/tevet/chanukahsolstice_thoughts_for_2008.html http://telshemesh.org/tevet/chanukat_hatekufahritual_for_chanukah_and_the_winter_solstice_jill_hammer.html https://www.ritualwell.org/blog/burning-away-darkness-winter-solstice-ritual

If you like my writing, feel free to leave me a tip here: https://ko-fi.com/ezrasaville

Sources: The Jewish Book of Days by Rabbi Jill Hammer Jewish Encyclopedia, 1906. http://www.peelapom.com/ http://www.devotaj.com/ http://telshemesh.org/

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holyhikari · 4 years

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Okay. Okay. It’s 2020, most of the world is shut down and the first episode of Digimon Adventure aired yesterday, missing a ‘Butter-Fly’ and with a colon to spare. Life sure is something.

Gotta say I’m relieved. (For now, at least.) Sure, yeah, I got into the hype train for the reboot from the get-go and determined to just have fun, but. If I can picture all the ways something can go wrong — go BORING — down to excruciating details right from the first episode, why not? That’s what brains are for. So that’s what I did.

Should have saved all that energy.

I want to share with all of you my thoughts on this episode, break it down a little bit; how it made me feel, the few character introductions we got, the pace, the plot and its possibilities.

As much as I want to approach this series keeping the idea of authenticity in mind, it is a reboot. They chose a certain set of (popular!) pre-existent characters to explore, to work with; a balance between creating and adapting. And I’m very interested in seeing how they’ll combine the core elements of Digimon Adventure with all there is unique to this generation of kids, teens and, you know it, adults who stuck around.

Since all we’ve got is the introduction to the series, I’ll be contrasting TOKYO DIGITAL CRISIS to how the original Adventure kicked off back in 1999 with ADRIFT? THE ISLAND OF ADVENTURE!

I did try to keep this as coherent and review-like as possible, but there’s a fair amount of fan-girling and it’s all seen through my very biased Adventure-stan-colored lens. Don’t say I didn’t warn ya.

‘99 starts with an image of our planet, and ‘20 starts almost the same. This time, though, we can see we aren’t alone. ‘The Digital World affecting the Earth’ is something that happens, I believe, in every Digimon reincarnation. In ‘99, it’s deeply affecting our climate. Now, the issue doesn’t seem so drastic that it’s able to reach influence organic matter and mess up many Nature’s cycles across the globe, but it’s still not looking so good for our kids. (It’s the first episode and Hikari and Yuuko almost get train-sandwiched, but I suppose that almost having your head chopped off, courtesy of Kuwagamon, isn’t lovely either.)

Anyway.

I think this Digital World/Network shot isn’t actually part of the episode? I think it’s part of the opening (I mean, not the OP sequence with the song, obviously), and that we’ll be seeing it before each episode starts. Still, it’s an interesting juxtaposition, isn’t it?

A Glorious World is upon us! I wasn’t actually expecting Butter-Fly or anything similar to it, don’t worry. I’m glad the new OP is its own thing! I want Digimon Adventure ‘20 to be as authentic as possible without losing the original’s heart. The song is nice enough. I don’t want to compare it to Butter-Fly, but I’m only human. Give me a few episodes. Gotta let go.

The OP has way more Taichi than the others. No surprise there. He’s our goggle boy. (Still, since they went for a quick throwback to the original opening, it’s a shame only Taichi was shown falling down towards the Digital World).

Everyone got a part, though. Shout out to Takeru and Hikari for being yet again the ominous, powerful baby-faced duo that is definitely up to something.

It’s so interesting that, while the other crests are shown very clearly and surrounded by sparkles, Light and Hope are only shown briefly shining in their partners’ shadows. Why is Takeru so far away from us, why is this so sinister-looking. Hi, mysterious plot. Nice to meet you.

Wherever Hikari is by the end of the OP, it reminds me of Vamdemon’s castle. Maybe she feels connected to Tailmon and follows her somehow? Angemon wasn’t shown in the OP with the older six children’s partners, just Patamon. I wonder if they’ll try to make us grieve for Angemon a second time. It’d work with me. Either way, I imagine we’re in for another last-minute Patamon evolution when everything looks hopeless.

This time, though, we’ve got Hikari from the beginning (yes, I am VERY excited about this, thank you for asking, THIS IS WHAT I DESERVE), and, while I think Patamon is more powerful in regular conditions (as in, Angemon can probably take Angewomon in a fight despite the level imbalance, but as soon as Hikari starts glowing you know who’s winning), he will now be sharing the spotlight with another Archangel evolution… as his friend or as his foe, considering that Tailmon might be a double agent of some sorts in the beginning. Welp.

Anyway. Toei isn’t fooling around, in the OP we can see MetalGreymon in a very scary-looking, glitchy fashion that I’m LIVING for, WarGreymon’s silhouette and, good grief, there’s even a glimpse of Omegamon. Talk about too much information. Maybe chill out a little? (I say this, but the adults already know all of their evos, and the kids just want MOOOOOOORE monstahhhhhrrrrrrsss….which is fair.)

MetalGreymon looks dope here. The others, though, are only shown up to their Adult evolution, even Gabumon. I don’t think they will have only Gabumon and Agumon reaching their Mega forms, and then fusing into Omegamon while everyone else only gets as far as Perfect. Again.

They wouldn’t do this to us. Right? Yeah, they would. Maybe we can have Holydramon/Ophanimon and Seraphimon later on, as a treat. Aaaaaand, depending on how many episodes — how many seasons — this new timeline gets, I’m not giving up hope just yet. Let me have Phoenixmon, Toei, you heartless thing.

Moving on to the actual episode… The first non-Digimon character to show up is the true protagonist. Our queen is back. Our little Digivice thief, Miko herself.

Just you wait, you ain’t gonna be Hikari’s favorite cat-like creature for long.

Speaking of Hikari, LOOK AT THIS WITTLE BABY GIRL!!!!!!!!!!!!!!!!!!!

2020 Taichi right off the bat was Taichi for me. He’s talking to Yuuko and yells “Hikariii~” so loudly Hikari hears it from where she stands, the short cutie. Their mom just hands down the phone for her without missing a beat so Taichi can comfort her through whatever she’s worrying about (her summer classes, probably). Such a sweet, natural little moment that flashes both characters out. I want more of that, please.

We’re then introduced to Koushiro! I’m not gonna lie, I cringed the first time I heard him speak. I thought the voice didn’t fit him very well. This impression faded quickly enough, though, and I’m already attached to his new voice. Later, I realized that part of the reason he sounded off to me was because of how nervous he seemed — around Taichi, of all people! In this version, they’re just meeting for the first time, so it’s very in-character for him. Guess I was kinda shocked seeing Koushiro not feeling at ease talking to Taichi. Poor thing is Anxious! And he’s overthinking about Summer Camp! And he’s happy Taichi is his neighbor! That certainly would’ve helped during the Vandemon arc back in ‘99.

Koushiro gets a little bit over his awkwardness upon hearing the news regarding the cyber attack, something he’s curious about, and finally steps towards Taichi instead of away, which is spot on. These two fall into an easy camaraderie, as they SHOULD, and they head to the train station together, where Taichi decides to, I don’t know… run like crazy on the tracks until he gets to the rogue train where his family is and stop it with sheer force of will? Yeah! Sounds like him!

And now to one of the most interesting parts of this adaption, is that they’re showing us the Crests early on and HOW they’re doing it.

Taichi is able to meet Koromon because he’s being brave.

I mean, the first time, he was chosen because of his courage, too, but they all go in together. They’re taken. They’re washed off the Earth. And while Taichi had no idea he was going to be pulled into the Net, he chose to try to save Hikari and his mom (and, a few moments later, he chose to dive in towards Koromon). This time, it feels so much more personal. The screen switched back and forth between the Crest of Courage, Taichi and Hikari, who I believed called his name. The scene worked so well! (Following this pattern, Koushiro gets his Digivice when expressing curiosity, the will to pursue an explanation for what was happening!!!!)

On the other hand, it’s sort of bittersweet they weren’t pulled in together. Don’t get me wrong, I’m glad they didn’t try to introduce all of them AND the Digital World at the same time again. But… ‘99 established them as a ‘team’ within seconds. It’s interesting, though. I’m VERY curious to see how their bonding will go this time around!

Taichi and Koromon meeting was beautiful. I was worried the soundtrack wouldn’t even stand a chance against the masterpiece that is the original one, but the musing playing was so delicate, so majestic. I felt I was witnessing a precious moment. Also, Koromon’s ears twisting into how we represent the DNA while he was evolving was!!!!!!!!!!!!!!!!SUCH A GOOD DETAIL!!!!!!

It cracked me up when Koushiro said that what was happening was very surprising while not sounding surprised at all. I wonder how long the kid has been looking into the cyber attacks. Oh, and the Network is pretty. Prettier than I had anticipated, though not that different from Appmon’s style, I think? I can’t wait to get a look at the actual Digital World and see if it has that unique feeling and that odd, watercolor painting aesthetic. I hope I can trust the OP:

Did you notice that Agumon giggled a few times? He looked at Taichi with such love, familiarity and devotion and like he knew something. It felt… right. My heart. My poor, poor heart. (I know this Agumon probably has met Taichi before inside of this very Universe, like the Hikarigaoka incident in the original version, but I like to think about Universe-hopping platonic soulmates.)

Overall the sound work was fantastic, but this scene deserves a highlight. The noise of the Kuramon lookalike moving after evolving was genuinely disturbing. And look at how pretty this is:

Speaking of evolution, AGUMON EVOLVING INTO GREYMON WAS THE SHIT. I loved how straight-up FERAL it was, while still keeping the “Digital” part of “Digital Monster” very much present. It reminded me a bit of Hosoda’s Greymon (most amazing Greymon to this day!) in the Digimon Adventure Movie and, now that I think of it, of him fighting in some Tri. Reunion scenes. Scary Greymon is the best Greymon. Yes. I like it when the Digimon manage to disturb and scare me, okay? They aren’t called monsters for nothing.

I mean we got to see his horn literally bursting out of his skin. This is low-key terrifying. 10/10.

BUT WHERE IS THE EVOLUTION THEME SONG

I am: deceased. Cause of death: Hikari’s soft smile when she realizes her big brother managed to help them.

Alternatively, this first pic had killed me on the spot.

FINALLY, we get to see Yamato, and of course, he’s staring down dramatically at Taichi on top of Garurumon like the intense person he is. And, no big deal, there’s a cyber attack in a U.S military base and, uh, apparently the next episode is the 2020 version of Bokura no War Game?!

I— WHAT?!

No pressure, am I right? I don’t know about you, but I’d rather be falling off a good ol’ cliff with my camping buddies.

To be honest, if they intended to end it like this, it felt like this should’ve been a special episode. Maybe one-hour-long or so? Why……….HOW……….. They wanna go from the pilot straight to a Bokura no War game tribute?! The very movie that introduced Omegamon. I swear, if Omegamon’s debut is the SECOND episode, I’m gonna break. How is this gonna work. Well, at least they have us… intrigued?

The ED is so Yamato-focused it’s almost weird that his voice actor isn’t the one singing lmao. That amount of Yamatoness got me by surprise. Some of the pics look like a PowerPoint presentation of CD cover ideas for his yet-to-exist (or not) band… and I say this lovingly, okay? I love him so much.

This is my favorite one!

I lost count of how many times I listened to this song!! It also got me hooked up. What’s up with Takeru and how the writers took the whole Angel aesthetic to a whole new level?! Is he sick? Is he dying? Is this why Yamato is so sad and lonely throughout the ED?????? EVERYONE GO BEFRIEND HIM. I heard he’s a good friend.

Be right back, I’m gonna tattoo this pic to my face.

Bonus commentary!

I bet I wasn’t the only one looking for random cameos whenever they showed us crowds. Didn’t find anyone we know, but I’m sure this will change. 02 characters cameos, I’m ready for you.

Soooooooooo the Tachikawa own a tech company this time?? For all we know they own Japan. That’s scarier than the Diablomon-like virus giving Trump a headache. If so, Mimi is gonna be way more spoiled than before. Oh, dear.

I HOPE WE SEE MORE OF THESE PIXEL BABIES! That was a perfect Easter egg.

If none of these icons at the bottom is the Digimon Analyzer, then what’s the point of my entire existence?

I can’t wait for next Saturday! Even if solely to yell “WHY??????” at my screen.

I can’t thank you enough if you read this far!

#digimon #digimon adventure psi #psi spoilers #bea with the tea #I SPENT THE WHOLE DAY WRITING THIS AND........ IT'S NOT EVEN GOOD.......... OK #long post

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cjostrander · 5 years

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Devin Townsend: Ziltoid the Omniscient

Hey guys! i didnt get you last week due to training and likely won’t get you next week since my girlfriend graduates with her Bachelor’s degree from AIC. So today i can going to tackle a new artist i downloaded. His Z2 album was up for an anniversary review but since it’s technically a sequel album and i’m new to him i am playing it safe and going with the first of the two concept albums first. Expect this musician to be very over the top in terms of production with the goal of achieving an overall powerful sound, It is more comedy based as well so; expect a lot of audio segments in it. Long story short for the album concept; it’s an alien coming to earth for coffee; finds that it sucks and invades Earth in response. hopefully this is a smooth listen but let’s see where it goes!

ZTO: We start off with a pretty triumphant opening track full of choir based vocals aggressive guitar riffs with powerful drum beats. The growl vocals are decent and help create an interesting show of aggression to new fans before the audio segment arrives to delivers the alien conquerer’s request for black coffee. It’s barely over a minute so i won’t score it but it sets the tone quickly for the odd comedic factor and the show of aggression in the instrumentals. 0/0

By Your Command: The first gradeable track is an 8 minute long number. It begins with a decent instrumental opening that shows rather strongly produced keys combined with powerful riffs and aggressive drum bashing. The vocals are pretty muffled by the production value but for the most part you can make out what he is saying. This should appeal fairly well to fans of aggressive growling but the high clean vocals will change things up and show an interesting change up i dynamic for a first time listen. Because of the smothering at times it becomes a bit hard to get into the concept but for a live performance i could see it coming off fairly decently considering that this guy is known for putting very high production value into his live shows. Gotta give the guy props for making his own label to release his music since it provides a lot of risk to him financially but allows him to express himself and grow more honestly as an artist. It does create issues for criticism since he writes and nearly performs most of his work like Trent Reznor of Nine Inch Nails’ but as i said; it gives the listener a sense of honesty from the listener. This track does do well to showcase some interesting technicality in both the instrumental and production side of things. I actually see the audio segments as adding a fair value to the song otherwise the lengthy instrumentals would run the risk of getting boring after awhile and from what i’ve gotten; this guy does not write short albums by any means! 8/10

Ziltoidia Attaxx!!: This track is a little more straightforward in terms of length at just under 4 minutes long. It begins pretty quickly with Ziltoid calling on his forces to attack Earth. The instrumentals move quickly with little need for a warm up and deliver some very nice headbanging instrumentals. It definitely works well to infuse a nice sense of aggression for the listener to build some adrenaline to. The vocals are very hard to make out due to their presence in the background but their aggressively raw texture mixes well with the blast instrumentals to create an interesting show of force for the listener to be hammered with. Despite the very high production that on other other albums would be viewed as excessive; since he flaunts it very bluntly from the start i can actually find myself to dig this album pretty strongly. It is certainly interesting for a work out so far; so hopefully the album keeps things fresh for the listener remain engaged by because it will certainly be an invested listen the first time around. 8.5/10

Solar Winds: By two seconds this is the longest song on the album at nearly 10 minutes long. Holy fuck i hope this is a mind blowing listen to review lol. I would have like 3 songs done by the time that wraps up ha ha. It starts off with a decent softer instrumental opening that builds up a nice bit of tension and allows vocal segments to help add to the concept with a bit of dry humor as well. It introduces a hero by the name of Captain Spectacular and Devin utilizes some softer vocal harmonies to build the song up into an interesting show of theatrics. The bass gives the backing vocals a nice layering for Devin to infuse further high notes for the listener to be engaged by. It does feel a hair over the top but being a 10 minute long track this lengthy build up is written interestingly to explain the album’s story further if the listener is paying attention. As a guitar player i cannot knock the guy at all since he pretty much plays everything with the section of the programmed drums and it manages to fit together fairly well. The aggressive elements showcase nicely and may shape this up to be a track to stand out stronger from the previous ones. Not that the others were less memorable but this album so far has an interesting knack to lead into another song without you noticing if you arent careful. 8.5/10

Hyperdrive: Well so far it looks like with the exception of track 9 everything is under six minutes and a few are interlude tracks; so the rest of this album should breeze by a little quicker for you if it is feeling like too much. This next track begins with a decent fade in set up by the ending audio segment of the last track. It uses distortion to fade into an rather soothing yet fairly energetic instrumental segment. It creates a nice melody to balance Devin’s smooth harmonies. It will help to ease things up a bit for a listener that is just getting to understand the musical mindset of Devin Townsend. He infuses some growl vocals that will graduate amp up the instrumentals and give the listener a nice degree of adrenaline to pump to while still having some atmospheric melodies to lose ones self under. As a middle track i certainly have to give him props because its clearly a heavily complex work in a manners of things but still eases things down a bit without boring the listener this far into the album. 9/10

N9: We begin with a little more tension than the last song brought and instead bring back a sense of chaotic conflict compared to the peaceful nature of the last track. It uses layered vocal harmonies to give the instrumentals an airy touch that makes you still feel like you are zooming around in space. Some aggressive growls are tossed under the mix to add to the fullness of the song without drawing any intended focus onto them. The vocals manage to bring out a surprising sense of emotion from the instrumentals that will be energizing yet soothing for the listener to appreciate. It shifts into a nicely chaotic but calculated set of guitar riffs that really showcase the tension going on at this stage of the conflict; which i can only assume is a space battle between Ziltoid and Captain Spectacular. It definitely has a little length to it but boy does it bring substance to the listener whether they want it or not lol 9/10

Planet Smasher: The guitars start off with a rather tense strum which showcase a catchy rhythm segment that would get a live audience engaged very easily. The concept starting off is basically Ziltoid giving orders to his subordinates to bring in a super weapon for combat. It brings a nice sense of tension that makes this lengthy dialogue worth sitting through, The very low growl vocals definitely make a nice dungeon monster format that shows that Captain Spectacular is getting ready to fight a very powerful being, Devin;s usual high scream vocals are very aggressive but clean and easy to understand; which only adds to the clearness of presenting the concept to the listener. I gotta give him props for actually paying heavy attention to the concept and not leaving the listener to try and guess what the tracks are contributing to the overall story. You do have to pay attention and listen to the album in order obviously; but it’s very easy to get where things are going with each track. That certainly makes this album a very surprisingly interesting listen, 9/10

Omnidimensional Creator: This interlude track is surprisingly under a minute long and informs the listener of Ziltoid’s failure to get the Planet smasher on his side and moving onto his next plan which involves some stoner hippie/surf guy. Sounds about right. 0/0

Color Your World: This is the other track that is just under ten minutes long and begins with a very blunt show of aggressive riffs before Devin arrives with clean high notes for the listener to be engaged by. It gives off a slight holistic feeling that shifts things slightly from aggressive screams to some a bit more positive but equally as powerful. It then brings back some very compelling growl vocals that are interesting and mesh with the blast instrumentals to really get the listener in the mood to head bang. It does get a little carried away with the rawness of the heavy segments but it shifts back to some melodic interlude segments to ease things up. The melodic guitars will be a nice refreshing portion to wind the listener down a bit before some very beautifully emotional vocals arrive to further enthrall the listener. Gotta give him props for being skilled at both aggressive growl vocals and heavily risky high vocal melodies. It shows a very talented range for him and is making his work surprisingly more interesting to review than i initially thought it would be. I was expecting to be overwhelmed by each track due to the heavy production value; but this album so far has been flowing by with relative ease and would make for an interesting show to see being played live as a whole. 9.5/10

The Greys: This likely finale track begins with a strong guitar opening and very emotionally compelling vocal harmonies in the background. You can’t really make out what he is saying but it brings forth a sense of emotional power that is ideal for this stage of the album. As he slowly weaves the song the instrumentals move with compelling speed to fill any gaps that you could think of without overwhelming the listener with excess. This one is easier to find yourself zoning out to a bit more than the other tracks but considering that it is the finale track it is understandable. 7/10

Tall Latte: This outro track concludes the finale with essentially an employee at a coffee store waking from a slumber and dealing with a rush. Assuming that it simply means the whole story was a stoner dream but you take what will from it. 0/0

Overall album rating: 8.6/10

Well; that was a surpringly worthwhile album to review. I figured get this one done so that i could tackle the anniversary album; but it was actually a solid entry album into Devin Townsend’s music style. I cant speak for how easy it will appeal to the average listener since it clearly is too complex to be mainstream; but it’s still a very nice surprise to come across. I hope you guys enjoy this album and i’ll probably crank out the second half (which is a double album technically so expect two more album reviews in total) next time when i have a good amount of time put aside. Sleep well everyone and check this guy out!

*Reviewer’s Pick*

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nathanielwharton · 4 years

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My 2019 in Pop Culture

Same plan here as usual. I discovered this as a draft from back in January that I hadn’t found images for yet. Posting it now, without edits.

Top Forty Things From 2019

45. A Town Called Panic: Agricultural Fair I made a last minute dash into the city to see this at the New York International Children's Film Festival screening (I ducked in, huffing and puffing, as the lights went down), but I was so glad I did. I love these shorts, and this one was an absolutely bonkers, madcap wonder.

44. "Gotham City Guys" from The Lego Movie 2: The Second Part I enjoyed the second Lego Movie pretty well, but I loved this song.

43. Finding Drago This is an Australian podcast about the search for the author of Drago: On Mountains We Stand, a book about Ivan Drago from Rocky IV. It was a delight.

42. Crawl I had a pretty good time with a bunch of horror movies this year. Scary Stories to Tell in the Dark made some good use of 3D realizations of Stephen Gammell's potent artwork. Ready or Not was a good cat-and-mouse with a fun ending to see with an audience. Happy Death Day 2U kept the comic frisson of the original, pushing it further into nutty science fiction, while slipping in some real emotion. But the one that probably gave me the most thrills was Crawl. An expertly nasty little piece of work, it efficiently keeps turning the screws up the the very end. Jesse and I remarked afterward that we basically alternated leaning forward with our hands on our faces and leaning back, bracing on the armrest, throughout the entire movie.

41. When They See Us Urgent and harrowing.

40. Mindhunter (Season 2) The rhythms of this show are so distinctive and engrossing. It's not exactly Zodiac: The Series, but it is fascinating in some similar ways and I hope they come back and make more of it.

39. Unbreakable Kimmy Schmidt (Season 4, Part 2) I might (okay, definitely) be underrating this final batch of one of my favorite shows on TV. Blame it on Netflix’s half-season strategy, and not on these episodes that were as overstuffed as ever with a breathtaking array of jokes delivered by a note perfect cast. I’ll miss if, but I'm grateful for those final moments. (The line "Your books make me feel safe” definitely made me tear up.)

38. They Shall Not Grow Old in 3D This documentary was fascinating as a look at the less-covered (at least in my lifetime) First World War, and it was AMAZING as a visual experience, watching 100 year-old documentary footage in such an immersive way. And the short documentary that followed my screening showing the process of making the film was worth the price of admission on its own.

37. Glass at the Shyamalanathon Few things can top the weird thrill of seeing the ending of Split before hearing even a hint about the ending (Jesse and I were audibly shocked and delighted, and then spent part of the credits explaining the reveal to the kids in front of us after they asked us about it). So I was pretty psyched for this one. I caught Glass at the end of a Shyamalanathon at the Alamo Drafthouse, where they showed Unbreakable, Split, and a preview screening of Glass, with a Q&A with Shyamalan himself. I had a GREAT time.

36. Amazing Grace I saw it with about 8-10 people in the theater, and folks were still witnessing with Amens and hallelujahs from the back of the auditorium. They were well warranted.

35. The Twilight Zone Revival I definitely preferred this to the last revival, and the hit-to-miss ratio felt pretty standard for an anthology show. Highlights for me were "Nightmare at 30,000 Feet," "Replay," and "A Traveler." Looking forward to the next batch of them.

34. One Cut of the Dead A twisty, surprising one-shot zombie thriller that reveals itself to be something much different (and much more charming) than you'd expect.

33. Star Trek: Discovery - Pike sees his future This season of Discovery had a number of really strong elements (and I'm super intrigued to see what they do with that setup for the third season), but the part that probably most moved me was in episodes 12, "Through the Valley of Shadows." Captain Pike (a wonderful performance all season by Anson Mount; definitely looking forward to that spin-off) is given a vision of his eventual fate, which we know from the original series, in which he is severely disabled in an accident. He is told that if he takes the time crystal from the Klingon temple to help save the day in the season's storyline that he cannot change this fate and is essentially dooming himself. And he gives the most moving, Starfleety performance in choosing the greater good over himself.

32. Genndy Tartakovsky's Primal This was a visceral, thrilling surprise. I caught the first four episodes as a screening at the Alamo and it knocked my socks off. The final episode of this initial run was also really rad. Pure animation.

31. Under the Silver Lake Seeing this one at a late night screening felt just right, as it creates such a bewitching, hallucinatory spell. As someone who enjoyed reading about conspiracy as a youth and recognizes but (hopefully!) avoided indulging the kind of solipsism on display in Garfield's character, I was pretty into this movie.

30. Missing Link This Laika joint was an easy lay-up for me (an adventurer helping Bigfoot to find a lost civilization of yeti? sold.) and it did the trick.

29. Frozen II It's not as clean a narrative as the original, and Kristoff's storyline is too sitcommy, but this still packed a lot of emotional punch for me, and I love that it's a huge Disney animated movie that interrogates colonialism and the way that our history can obscure misdeeds and trauma.

28. The Righteous Gemstones Another acridly funny and tonally daring series from the McBride/Hill/Green team. Loved this first season, and certainly excited to see where they want to take it next.

27. A Series of Unfortunate Events (Season 3) This show continued to be a really marvelous adaptation of the books and the adaptation of the final story (and the elements they included from the ancillary Snicket books) really landed wonderfully. I really wish Netflix had already announced the same team was doing an adaptation series of the All the Wrong Questions books (with Warburton somehow still involved as Lemony Snicket).

26. Klaus & Noelle Two streaming services served up two new Christmas movies this year, and I dug them both. Noelle doesn't quite pull of the same magic trick as Elf, but I found it charming and the cast (and the fact that it is set, in part, in Arizona) went a long way to endearing it to me. And Klaus was a gorgeously animated, very enjoyable surprise. Odds are decent that I pop both of them on again at some point next holiday season.

25. Deadwood: The Movie A bit of bittersweet nostalgia, a post-script, and an elegy. Just the right balance of warm and melancholy. And while the movie definitely didn't give us the Al Swearengen I expected, I was so moved by his story (and McShane's performance).

24. The Marvelous Mrs. Maisel (Season 3) The obvious surface pleasures of this show (the costumes and set design, the snaky sinuous camera work, the charming and charismatic performances, the rat-a-tat dialogue) continued apace, while the storytelling continued to strike a really enjoyable balance between joyful wish-fulfillment and (semi-)realistic period exploration.

23. Adam Sandler & Eddie Murphy on SNL and in the movies The two biggest SNL alumni that had not been back to host (ever, in Sandler's case, or since he was still a cast member, in Murphy's) Adam Sandler and Eddie Murphy both returned too the show that had given them their start and pretty much lived up to decades of expectations. Sandler came back at the end of the 2018-2019 season and it was such a warm, funny homecoming that was really funny without just spending the time revisiting his old characters (the travel agent commercial he was in was one of the best sketches of the season and benefited hugely from his performance), and a genuinely touching tribute to Chris Farley. (And he capped his year with a fantastic, nerve-jangling performance in Uncut Gems, which was a Safdie special, exhausting and exhilarating in equal measure.) Then, following his really galvanizing lead performance in Dolemite is My Name, showing how hilarious and wonderful in a dramatic role he can still be, in the last episode before Christmas in the 2019-2020 season, Eddie Murphy returned to host, coming in with the enormous expectations that would accompany his return to the show at any time with the recent example of having seen it done so right. And they crushed it. His episode understandably featured more of the play-the-hits style of character reprisals, but they generally had clever ideas for using the characters (Mr. Robinson returned to a gentrified neighborhood, Buckwheat was a Masked Singer, and Gumby gave a hilarious Update rant) and, best of all, Murphy brought the necessary energy to make it all work. On top of that, he elevated the non-recurring stuff like a great Baking Championship sketch that he underplayed to perfection, or a North Pole newscast that he knocked out of the park. Both episodes were a joy.

22. Doctor Sleep I liked a lot of stuff in the book, but I think the movie improved on it! I love Mike Flanagan's style of horror story anyway, and it was a really good fit for Doctor Sleep. And the movie does a remarkable job of squaring itself with the Stephen King and Stanley Kubrick versions of The Shining, including a really moving appropriation of elements from the original book and potent movie imagery into a surprisingly touching combination.

21. Stranger Things 3 The run-up to this season was so much fun (special ice creams and store decorations at Baskin-Robbins, a whole Fun Fair set up at Coney Island), and then the season itself was a big summer blockbuster blast that Katie and I spent a whole day on.

20. The Lighthouse This one lingered! Two great performances, a beautiful visual scheme, and a bracing spiral into madness for a story.

19. Parasite Bong Joon-Ho with another what-genre-is-this masterpiece.

18. Watchmen on HBO This was so much richer and provocative than I expected. A compelling and mostly satisfying sequel to a book I didn't much demand a sequel to, it was one of the best shows I watched all year and honored the original by actually being about something.

17. The Farewell A warm and delicate story that really moved me, with a terrific performance by Awkwafina.

16. Jojo Rabbit I've been on Taika Waititi's wavelength since Boy, and this one worked for me as designed, which meant that I was delighted and then devastated.

15. Apollo 11 Like They Shall Never Grow Old, there was such power to seeing a new, vivid angle on major 20th century history.

14. GLOW (Season 3) This season, with it's Las Vegas setting and it stage-show status quo, created a bunch of new dynamics and fun developments (the Christmas Carol version of their show was a delight) while continuing to deepen the characters. Love this show.

13. Dumbo I am generally a Tim Burton guy, but I was surprised by how much I loved this movie. And every moment Michael Keaton was on screen was a great one.

12. Star Wars: The Rise of Skywalker This was a weird year for Star Wars, with Star Wars: Resistance coming to a satisfactory (but disappointing compared to the previous two animated series) ending and publishing having a handful of fun tie-ins to Galaxy's Edge and Rise of Skywalker, without anything particularly standing out. And all of it was capped off with The Rise of Skywalker, a film that definitely suffers from a bunch of competing storytelling interests. But the big moments that need to hit all pretty much hit for me and the final moments on Tatooine especially got to me.

11. The Irishman We went to see this movie during it's special engagement in a Broadway theater, which felt like an appropriate experience for such an epic. Surprisingly funny and, in the end, almost breathtakingly melancholy, this was a really special movie.

10. Lethal White Another cozy, gripping read. The mystery was less nasty/scary than the last one, but it was still pretty involving, and I certainly want to see what happens next for Strike and Robin.

9. Toy Story 4 This felt truly unnecessary (and even kind of unwelcome) when it was announced, but it turned out to be a genuinely worthy entry. It hits or improves on the expected Toy Story elements (the jokes hit and the characters are lots of fun, and it may be the most beautiful Toy Story, with stunning widescreen animation), and Woody's story builds to a surprising and very emotional climax. Once again, I'd be happy if this was where we left the characters, which is no small feat for a movie that has to push beyond the ending of Toy Story 3.

8. Disney+ (The Mandalorian, The Imagineering Story, Forky Asks a Question, etc) I was still working full time at school and working on my master's degree this fall, so it's not like I really needed a new streaming service to spend time on. But this was such a fun thing to explore. The Mandalorian immediately became appointment television for us (if that whole first episode hadn’t have done it, the final scene would have). But so was The Imagineering Story (one of the best showbiz documentaries I've seen) and Forky Asks a Question ("What? No!" definitely entered our daily lexicon).

7. Once Upon a Time...In Hollywood I loved it for the hang out (I want to watch Cliff Booth and Rick Dalton watch episodes of TV shows together!). I loved it for the incredible tension of the Spahn Ranch sequence. I loved it for the wry wistfulness of the neon sign sequence. I loved it.

6. Knives Out Such a thoroughly great time. I love Rian Johnson's movies in general, but this might be my favorite since Brick.

5. Us I'm reasonably receptive to the "bigger and more rococo" sophomore film, so I was ready to respond to this movie. But it still really knocked me out. I love it for all of the great surface pleasures (scary "monster" design, tense scare sequences, incredible dual performances by Lupita Nyong'o) and I loved it for the chewy thematic ideas it teases at. Peele is two-for-two, in my book.

4. Little Women I was only familiar with this story in a vague sense (like, I am sure I knew one of the sisters died in the book, but I didn't know which one going in). But I LOVED this movie.

3. Avengers: Endgame For this big, climactic year of the Marvel Cinematic Universe, I had made note to include the Skrull reaction shots in Captain Marvel (Talos and the milkshake being the top of the heap), and Spider-Man: Far From Home was as consistently delightful as it's Spidey predecessor, but it's hard to think of a collective audience experience that was more fun than Avengers: Endgame. It basically played out as a series of huge payoffs and shocking moments for about three hours, and between the laughs and cheers and audible sobs, it really ran the full audience-reaction gamut. Hard to imagine another movie building up this kind of steam for a big finale again, and it was pretty special to see on opening night.

2. The Dark Crystal: Age of Resistance I was pretty excited for this show. The original movie is dear to me, I'd heard really cool, encouraging stuff about the show, and the trailers were pretty gorgeous. And the show exceeded all of my hopes for it. It was funny and exciting. It developed the mythology of Thra in cool, intriguing ways. It was absolutely dazzling to look at. It jockeyed for position with the number 1 spot on this list. I adored it.

1. Godzilla: King of the Monsters I loved this. I wrote about it at SportsAlcohol.com. I saw it five or six times in theaters. A full meal for my imagination.

Top Twenty-Five Things I'm Excited About in 2020

Godzilla vs Kong No question, I'm spectacularly excited to see this one. I loved all three of the previous films leading up to it, and the status quo hinted at in the credits of King of the Monsters suggests some directions that I really hope to see explored further.

Animaniacs revival & Looney Tunes Cartoons Here's hoping that this is finally the year we get to see the new Looney Tunes they've been cooking up (seems like HBO Max will be a good place to put them...) and while it feels like a while since there's been new word on the Animaniacs revival that's due on Hulu, maybe that'll show up this year too. Looking forward to whatever Warner Bros. animation we can get.

Bill & Ted Face the Music One of the few decades-later sequels that I've actively been wanting to happen. I'm so glad this finally happened, and I can't wait to see what it will look like. I love the title. I love the details they've shared so far. And I'm glad to have an excuse to watch the previous two movies in the run-up to this one.

West Side Story Spielberg finally doing his movie musical! And it's a great musical! With a script adapted by Tony Kushner, no less. Sign me up.

Muppets Now I don't know enough about the format of this show to know how excited to be yet (they're generally good at improvising, but the notion of ad-libbed shorts doesn't sound quite like the Muppet Show revival I'd really like to see on Disney+). Still, new Muppets!

The French Dispatch Seems like this one should hit his year after a festival run. Really looking forward to getting a look at what he's cooked up this time.

Death on the Nile #thirtyBranaghPoirotmovies

Onward & Soul Two original Pixar movies in one year! Super excited about this. (Also pretty psyched for another original film from Disney Animation Studios in Raya and the Last Dragon.)

MCU at the Movies I glad to finally get that Black Widow movie this year, and I'm certainly interested to see The Eternals, which has a great cast and sounds like another new avenue to explore in the Marvel movie world.

MCU on Disney+ As excited as I am for the two theatrical Marvel movies this year, I'm also pretty into The Falcon & The Winter Soldier and WandaVision. Now that my beloved Captain America has effectively retired, I'm pretty excited to see what happens to his best friends as Sam Wilson becomes the new Cap. And the word on WandaVision (that it's going to be pretty weird), coupled with the hints that they are taking inspiration from Tom King's run on the Vision comic book, makes this one sound pretty special. The Mandalorian set a high bar for how exciting these Disney+ shows could be, so I'm looking forward to seeing what Marvel comes up with.

In the Heights Hamilton melted my brain five years ago, and the trailer for this movie adaptation of Lin-Manuel Miranda’s first Broadway musical is so wonderful. Can’t wait.

Jungle Cruise Mulan looks super cool, but I've got pretty high hopes for Jungle Cruise. Jaume Collet-Serra is responsible for some wild genre excellence and I'm hoping he was able to bring some of that cracked vision to a big Disney adventure movie with the Rock and Emily Blunt. Sounds good to me.

Tenet Certainly looking forward to seeing Nolan return with another big, original genre picture with a great cast.

Dune Denis Villeneuve's last two science fiction films were aces and he's assembled a great cast here, so I'm hoping he'll do something special with this book.

Ghostbusters: Afterlife For as bad a taste as the ghost-bros left me with in their furor over the pretty fun 2016 remake, I'm loath to admit that I'm really looking forward to this. I liked the trailer, I'm excited to see the original characters return, I really like the new cast members, and I'm looking forward to a story with a different setting and everything.

Last Night in SoHo I like all of Edgar Wright's movies, and this sounds like an interesting change-up for him.

Star Trek on CBS All Access First up this year we know we’re getting Star Trek: Picard, and I’m particularly excited because this is a Star Trek that will be reaching past everything we’ve already seen and showing us a story set in the galaxy after the destruction of Romulus and Spock’s trip back in time. It looks really cool, and it’s pretty exciting to see Patrick Stewart playing the role again. Beyond that, we should have Star Trek: Lower Decks, which sounds like it should be a lot of fun, and the third season of Star Trek: Discovery which, based on the ending of the last season, promises to also explore previously unseen corners of the Star Trek universe/timeline.

Penny Dreadful: City of Angels I loved the original Penny Dreadful, and I'm pretty into the milieu they've set this...sequel? revival? spiritual successor? Pretty cool cast, too.

F9 Still really enjoying these big, wild, nutty movies. And I know my #family will be excited to roll out and see this one together.

Cosmos: Possible Worlds I loved the last Cosmos revival, so I'm really looking forward to seeing what they've come up with for this one.

Over the Moon Netflix is supposed to have a new animated film directed by Glen Keane this year, so I'm looking forward to watching it.

The Witches I love the book (and the original film version, for the most part) and I'm always rooting for Robert Zemeckis to make another stellar entertainment. Hoping this is one!

My Favorite Thing is Monsters Volume 2 Maybe this year!

Halloween Kills I loved the 2018 Halloween sequel, so I'm fully down to see the next two installments, starting with this one.

No Time to Die Daniel Craig’s swan song as Bond, this one has had some pretty rad trailers and a very cool director. Hope he gets to go out on a great one!

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offbeatmusicuk · 4 years

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Albums Of 2019

Here we go again. Another pretty strong year. Full disclosure I haven’t had as much time to listen to these albums this year as usual so my mind may be changed (possibly immediately) but here’s my list as it stands at the mo.

Before that though... an honourable mention of an album which I decided wasn’t eligible for the list because technically it’s a soundtrack album, even though it sounds like a new album from the band, and a strong addition to their discography....

Biffy Clyro “Balance, Not Symmetry”

And now the bonus 30 albums that didn’t quite make the top 50 but couldn’t go unmentioned.

Lindsay Schoolcraft / Sigrid / Talla 2XLC / Ladytron / The Anix / While She Sleeps / Calva Louise / HANA / Ivy Crown / Lacuna Coil / Hante. / Puppy / Stanton Warriors / Moonlight Haze / Perfect Son

Idiot Pilot / Port Noir / Above & Beyond / Eat Your Heart Out / Potty Mouth / Lupa J / Papa Roach / Starkill / IAMWARFACE / The Anix / MC Lars & Mega Ran / Snow Ghosts / J Majik / Estiva / GIRLI

And now the big five-oh

50.

Dinosaur Pile-Up “Celebrity Mansions”

Dinosaur Pile-Up have been gaining praise for their 4th album, and it’s not hard to see why. Spikey, catchy rock and punk, about touring the USA, some sounding like Foo Fighters’ heavier moments. Fun stuff.

49. Foals “Everything Not Saved Will Be Lost Part 1″

The experimental indie band released 2 albums in 2019, both parts of the same project, and though Part 2 certainly has merit, and a few cracking tracks, Part 1 is the more consistent, full of varied and surprising music.

48. Forever Still “Breathe In Colours”

The Danish hard rockers fronted by Maja Shining, deliver their 2nd album of aggressive, melodic rock and alternative metal.

https://foreverstill.bandcamp.com/album/breathe-in-colours

47. Cold Kingdom “Into The Black Sky”

Debut album from the Minneapolis hard rockers, their first release with new singer Elissa Pearson.

https://coldkingdom.bandcamp.com/album/into-the-black-sky

46. Hatchie “Keepsake”

Aussie Hatchie brings us her debut album of shoegaze-y, shimmery, dreamy, electronic indie-pop. One to float away with.

https://hatchie.bandcamp.com/album/keepsake

45. UNKLE “The Road Part II / Lost Highway”

A serious case of double album syndrome with this one. Disc 1, aside from a weak cover of a terrible song as its last track, is absolutely amazing, and if it was released like that it would be top 10 for sure. But the whole thing has to be considered and disc 2, though far from bad, is just a bit dull, especially comparatively.

44. Doll Skin “Love Is Dead And We Killed Her”

The ladies from Phoenix are back with their new album, once again a great collection of catchy, upbeat, alternative rock and punk.

43.

Only Shadows “Brothers”

Epic, catchy indie rock. They are very American sounding but they come from Nuneaton. Good stuff though.

42. Driftmoon “Remember The Night”

Though it is a live recording of a DJ set, Driftmoon insists that this is his third artist album. Fair enough - it is all his music, though there are many collabs and his remix of John O’Callaghan & Audrey Gallagher’s classic “Big Sky”, but aside from an instrumental version of a track that featured on his last album “Invictus” it’s all previously unreleased. He wanted to switch it up and make the ‘live performance’ the first way these tracks were heard. And like many a DJ set, more often than an album, the biggest and best tracks are in the last third of the album, and there are some mammoth tunes here.

41.

The High Priest “Dream American”

Formerly of excellent bands Diphonia, Global Police Force and Dark Science, The High Priest continues his solo journey with his new album. And it’s a good ‘un. His website describes it best - “Dark brooding sonic rock music and atmospheric soundscapes”. Class.

40. Feeder “Tallulah”

Feeder’s tenth album continues their run of quality records. It’s no wild departure, but you’ll like it if you’re a fan. “Fear Of Flying” stands up against many of their classic tunes.

39. Furious Monkey House “Love, Scum & Dust”

Spanish indie-rock young-uns Furious Monkey House release their 2nd album. And it’s an excellent collection of catchy upbeat tunes, mostly in English but with some native Spanish in there too. Great stuff.

38. Nemesea “White Flag”

5th album from the Dutch band. They’ve moved through symphonic metal and gothic rock in their career, and this album includes a handful of the best songs they’ve ever done.

https://nemesea.bandcamp.com/album/white-flag

37. Fever 333 “Strength In Numb333rs”

Agressive rap-metal, with massive riffs and huge melodic choruses. Touches of electronics and Trap are dotted throughout. Sounds like the middle ground between Rage Against The Machine and early Linkin Park.

36.

The Dark Element “Songs The Night Sings”

Former Nightwish vocalist Anette Olzon and her Dark Element partner Jani Liimatainen deliver their second album, and it’s another quality, catchy collection of symphonic metal tunes.

35. New Years Day “Unbreakable”

Huge, jittery riffage, paired with pop style songwriting and melodies, with powerful vocals. Reminiscent of “Blood” era In This Moment, but less sleazy.

34. Blood Red Shoes “Get Tragic”

Blood Red Shoes bring a new sound with their 5th album. More electronic, almost synth-pop, but still with a rock band at the core. Some of their most original and catchy tunes yet are included here.

33. Maraton “Meta”

The Bandcamp page describes this album perfectly - “MARATON pushes the boundaries between pop music and progressive rock, mixing machine like drums and roaring bass groundwork with shimmering guitars, ethereal keys and sacral vocal performance. The band has sought to create a style of music which combines the rhythmic heaviness from bands such as Mars Volta with the pop aesthetics of Muse.” Check them out.

https://maratonofnorway.bandcamp.com/releases

32. Ankor “White Dragon”

Accessible metal with a prog sensibility, the melodies are catchy, but musically it will keep you guessing throughout.

31.

Liquid “Spacemonkey”

Old school hardcore rave stylings from scene legend Liquid on his 3rd artist album. A breakbeat bounty.

30. As December Falls “As December Falls”

Straight to the point, catchy pop-punk from this Nottingham four-piece on their debut album. Fans of early Paramore, early Tonight Alive or We Are The In Crowd etc would do well to check this lot out.

29. Blink-182 “Nine”

2016′s “California”, the first album to feature Alkaline Trio’s Matt Skiba replacing original member Tom DeLonge, was a huge return to form for the band, and “Nine” continues the revitalised Blink with another massive collection of pop-punk tunes. They broaden their sound palette here too with sampled drum loops and heavier riffs in places.

28. Rebecca Lou “Bleed”

There’s a shoegaze-esque vibe to the production on this collection of raw, catchy, rock ‘n’ roll tunes from Denmark, and it gives just the edge of uniqueness that makes this album special.

https://rebeccalou.bandcamp.com/album/bleed

27. Sleep Token “Sundowning”

On paper Sleep Token, a mysterious, masked unit of unnamed musicians, who worship an ancient deity called “Sleep”, would make you think they made incredibly sinister black or doom metal. But that isn’t the case. There is a metal heaviness and some mountainous riffs, but only in parts - often kicking in as songs build to their climax. For the most part though they are bewitching soundscapes, often minimal, with huge melodic vocals, and electronic touches. Worship.

26. Within Temptation “Resist”

Less orchestras, more electronic touches and more influence from other styles of modern music, but still unmistakably a Within Temptation album, “Resist” brings the band back from the brink after some serious writers’ block almost ended them. Bombastic and revitalised.

25. Solarstone “...--”

The final part of Solarstone’s “One” album trilogy is once again an epic journey through his ‘pure trance’ sound.

24. We Are The Catalyst “Ephemeral”

Third album from the alternative-metal Swedes, full of huge choruses. Fans of accessible metal with melodic female vocals should check this out.

https://watcofficial.bandcamp.com/album/ephemeral

23. Lamb “The Secret Of Letting Go”

Five years on from their last, Lamb unleash their 7th album. Ethereal, magical, and special, as they do so well.

22. Polynation “Igneous”

A cinematic, sweeping, atmospheric album, blending many facets of dance music, ambient, techno, IDM. A wordless, groove laden, goosebump inducing journey.

21. Grum “Deep State”

Grum’s much delayed second album finally lands on Anjunabeats. It’s a kinetic mix of sounds incorporating trance, progressive and deep house elements, and creates some huge anthems. In particular the incredible “Stay”.

20. False Advertising “Brainfreeze”

Mancunian grunge / noise-pop trio deliver a fizzing album of 90s influenced rock. Cracking, energetic tunes throughout.

https://falseadvertising.bandcamp.com/album/brainfreeze

19. Cold Blue “Winter”

Slowly but surely building his status and honing his craft over the last decade or so, and in recent years gaining a reputation as one of the best producers in the trance scene, German Tobias Schuh finally unleashes his debut album. It is an epic, progressive journey through uplifting trance, slowly building and revealing its treasures, avoiding being too formulaic and predictable. One to get lost in.

18. R+ “The Last Summer”

Rollo returns, with a little help from his sister Dido, and long time production partner and Faithless teammate Sister Bliss, giving us a blissful, Balearic sounding album. The whole thing sounds like a love letter to Ibiza. Lovely.

17. Pumarosa “Devastation”

Pumarosa deliver their moody second album. A bit more electronic (with elements of trip-hop and drum & bass seeping in), a bit darker, still brilliantly adventurous. A very exciting band.

16. Luttrell “Into Clouds”

I’ve been following Eric Luttrell’s superb, progressive blend of deep house and melodic techno for a couple of years, and now he unleashes his debut album. It doesn’t disappoint. Widescreen, beautiful, upbeat, catchy and excellently produced.

15. The Beautiful Monument “I’m The Reaper”

The Aussie quartet deliver their second impressive long player. Huge riffs, huge drums, huge melodies, in their blend of post-hardcore, pop-punk and metal.

https://tbmofficial.bandcamp.com/album/im-the-reaper

14. The Thrillseekers present Hydra “Altered State”

Despite releasing his first music in 1999, and releasing a steady stream of singles since, Steve Helstrip only delivered his debut album as The Thrillseekers in 2016. For this, his 2nd opus, he's decided to release under his Hydra alias. And what a beauty it is. Mostly instrumental, apart from a new reworking of The Thrillseekers classic "The Last Time" with vocals from Fisher, it is a masterclass in sublime, chilled, Balearic trance. Reminiscent of the first couple of Chicane albums, and makes you feel like you are blissed out on a beautiful, sunny beach.

https://thethrillseekers.bandcamp.com/album/altered-state

13. Jimmy Eat World “Surviving”

"Surviving" is Jimmy Eat World's 10th album. There are little touches of an expansion to their sound, but if you are familiar with their brand of American rock, then you'll know pretty much what to expect. This is undoubtedly a Jimmy Eat World album. It is, however, a very, very good one. One of the strongest they've ever done in my opinion, probably only with "Bleed American" as any kind of competition.

12. Age Of Rampage “Empire City”

Age Of Rampage deliver a plethora of breakbeat stompers on their debut album. Their love for acts like The Prodigy would be evident even without the first track sampling a Keith Flint interview, but the old school is delivered with relish here. If you love 90s breakbeat acts such as The Prodigy, The Chemical Brothers, The Crystal Method, Freestylers etc, this is a very worthy listen. Such a shame Russian breakbeat label Criminal Tribe don't do physical releases.

https://criminaltribeltd.bandcamp.com/album/age-of-rampage-empire-city-ctr035-18032019

11. Hands Off Gretel “I Want The World”

Hands Off Gretel are an effervescent blend of punk and grunge, led by the fierce Lauren Tate. A love of 90s rock is evident. "I Want The World", their 2nd album, is packed full of killer tunes.

10. Dido “Still On My Mind”

I’ve loved Dido’s voice since the early days of Faithless, so when she started releasing her own music I’ve always liked it to varying degrees (loved some of it, some of it a bit meh). This is her best album since “No Angel” in my opinion. It’s chilled, ethereal, and rather beautiful, and has been one of my most listened to albums in 2019. The title track is absolutely one of my favourite tracks of the year. I’m surprised it is top 10, but it had to be.

9. Wislov “Madness From Paradise”

Kniteforce Records and their sister labels have been a driving force in the old-school hardcore (or ‘rave’ as many early 90s compilations would call it) revival. Most of their releases are new music, just done in the old style, with fresh touches. Wislov is one of, if not the, greatest talent in this scene, and after a bunch of EPs and a slew of great tunes, this debut album is unleashed. And it’s a cracker. If you love that old-school sound you will find much to love here.

8. HÆLOS “Any Random Kindness”

Mesmerising, utterly beautiful, electronic tunes, with lush vocals. Picking up where their 2016 debut album “Full Circle” left off, but stepping up a notch. There is a heavy rave influence, but this is definitely made for the post-party, the comedown, the chill out time, the blissed out euphoria after the full on euphoria. Every time I hear this album I discover something new, and love it more. Wonderful.

7. Yonaka “Don’t Wait ‘Til Tomorrow”

Yonaka may veer to the poppier end of alternative-rock, but they know how to write a hell of a tune. Many of them in fact. 11 feature here on their debut album, released after a string of quality EPs and singles got them some exposure over the last couple of years. Hooks aplenty, huge choruses, riffs and electronics.

6. Anavae “45″

Fans of Anavae have been waiting a long time for this. The debut album many thought may never come. 8 years on from their debut single and 7 years after their debut EP “Into The Aether”, and following a bunch of EPs and singles in the interim, it is finally here. And I’m sure very few will be left disappointed. Rebecca Need-Menear and Jamie Finch deliver a typically varied alternative-rock album, veering at times into poppier territory, and others into moody trip-hop-esque tracks. Other times they stick to simple, yet epic, rock tunes like on the massive “High”. If you don’t know this band, check them out.

5. Dream State “Primrose Path”

Dream State progress in sound and technical ability with each release. From 2015′s debut EP “Consequences”, through last year’s excellent “Recovery” EP to this, their debut album. And it’s a pretty epic affair. Chunky riffs, pounding drumming, powerful vocals (both in aggressive and melodic turns from CJ Gilpin) with a massive, widescreen feel to the production. The Welsh 4-piece are often classed as post-hardcore, but that is far too limiting a description for a band with such obvious ambition. Class.

youtube

4. Machineheart “People Change”

Lush, shimmery, ethereal alt pop from this L.A. quartet fronted by the fabulous vocals of Stevie Scott. A cracking album from start to finish but a particular mention goes to upbeat (almost breakbeat styled) track "Overgrown" which is one of the best tracks I've heard all year. If you like bands like London Grammar or HÆLOS, give this album a spin.

youtube

3. Black Futures “Never Not Nothing”

Black Futures are a genre meshing riot. They've been called "Anarchic Electro Psych Punk Noise", "industrial noise-punk" and label themselves as "Future Punk". They have the sensibilities of a punk band and a dance band simultaneously. There's Bobby Gillespie from Primal Scream guesting, as is rapper P.O.S. More than once have they been described as a mix of Death From Above 1979 & The Chemical Brothers. It's a future party, a post-apocalyptic riot. Give it a listen.

youtube

2. Dallas Kalevala “Dallas Kalevala”

Dallas Kalevala hail from Finland and have been called fierce subarctic pop music. Whether they called themselves this I'm not sure. What it sounds like to me is a brilliant, varied pop album, slightly camp, with fantastic electronic production and some full on pounding dance beats. 9 brilliantly written tracks, that all sound different, but somehow sound like they come from the same band and belong together. There is a feeling Dallas Kalevala would be somewhat polarising. There's no way they'll be everyone's cup of tea (which suggests they are doing something right), but those that get them will love them a whole lot.

youtube

1. The Chemical Brothers “No Geography”

To make their 9th album The Chemical Brothers returned to the equipment they used to make their first two albums. And though "No Geography" doesn't sound like "Exit Planet Dust" or "Dig Your Own Hole", it feels like them. Consequently it is arguably their best album since them, but it is definitely their best since 2002's "Come With Us". It feels a bit old school, but also fresh and new. Tracks flow into each other seamlessly making the album feel like a complete body of work rather than a collection of tracks, and it is utterly brilliant throughout. Joyous.

youtube

Well there you go. I’ll leave you with the following, for your listening pleasure:

Spotify playlist - a countdown of the top 50 (50-1), minus a couple of things that aren’t on Spotify.

https://open.spotify.com/playlist/05F3PPwKO7NkwpD4eTJBiP?si=O8bO2JYDSqa3Kz-SzQ8D4Q

And a YouTube playlist counting down 50-1, but a completely different tracklist to the Spotify playlist (and different vids for the top 5 than are embedded here).

https://www.youtube.com/playlist?list=PLSWMYBJKcPo0tJGbPDFw8QAdZlb1BWj3H

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thebandcampdiaries · 5 years

Photo

God Moore the Elixir - Passport: Ego Sum Qui Sum

God Moore the Elixir is more than just your average hip-hop artist. Unlike so many modern rappers who just chase trends and copy the lyrical styles of the most trending artists at any given time, he developed a thoughtful and personal sound. His rap flow is deeply tied to the art of parablism, that is, verbally projecting thoughts or ideas to the listener. He managed to accomplish that by exploring a vast array of topics, and concepts that have the power to really connect with the audience.

Recently, the artist released a brand new album titled “Passport: Ego Sum Qui Sum.” This record denotes a really special approach to production, with a sound that feels clear and sophisticated, yet warm and organic.

This astonishing release features 9 studio tracks, each blurring the lines between different sonic aesthetics and creative directions. The first song on the set list is titled “Chess Move.” Much like it requires some thought to come up with the perfect chess move to win a game, this track is filled with clever lyrics and searing topics, igniting the listener with a witty spark of intelligent songwriting. “WYFW (Catch Me On The Way Back)” is a great song, which combines its unapologetic lyricism with a really dense and organic background track. “So Kosher 1.0” combines a sharp lyrical flow with a beat that has a nice old-school vibe, making for a gritty, yet melodic approach. This song has a modern and polished production, which really allows the mix to stand out for its clarity and depth. On the next track, “GNLFY”, there is even room for a stellar collaboration with Glance Conway, who helped shape this song into something that truly stands out. The 5th track on this release is a song named “Focus 1.0 (Without The Blind Eyes)” and it stands out for its golden age flair. I love the combination of cross-cultural references and classic hip-hop grooves! In addition to that, “Facade (P.B.S)” is yet another lyrically strong track, which actually ties right into the concept of the next song, “So Racist.” The subject of this release speaks for itself, and this song really stands out as a strong title, a very unapologetic look at some of the world’s most controversial issues in this day and age. The next song, “Passport 1.0 (Krill & Steak)” is one of the best tracks on the album, with its catchy melodies and intelligent composition. On this one, the low end is really fat and punchy, while the mid-range is warm, but never harsh. In addition to that, the top end has a nice, silky tone that really contributes to a smooth sounding mix that puts the vocals at the forefront. Last, but definitely not least, “From Predecess To Tha Predeceed” serves as a perfect curtain closer, reiterating what this album is really supposed to be all about! This song in particular showcases the artist’s personal philosophy and spiritual beliefs, from a truly interesting point of view. It’s a deeper reflection on faith, identity, and more.

One of the most interesting and striking features of this release is definitely its remarkable consistency. Not many artists can easily pull off a project that features such a wide variety of elements and influences. The most obvious risk is that the material can end up sounding quite disconnected and loose - but this is definitely not the case.

God Moore the Elixir is a master at creating organic, cohesive and consistent vibes, which really flow well throughout the span of this release. The performances are loaded with passion and integrity, while the production aesthetics are also excellent. The mixing quality is indeed absolutely world-class, with some amazing definition in the top end and lots of punch in the low-end and midrange. The results sound warm and present, yet never harsh or fatiguing, which is quite an amazing achievement, particularly in this genre! With this release, the artist really made a point to set the bar higher, not only for himself, but also for his listeners, genuinely delivering something that’s catchy and direct, yet forward-thinking and challenging in the best possible way.

Ultimately, this is an album for pioneers. For the forward-thinkers who like honest and meaningful music that’s more art than entertainment!

Find out more about God Moore the Elixir and listen to this release:

https://www.youtube.com/playlist?list=OLAK5uy_k5ghJQF0RUxdt--KT_aD-sZ9seUs9giOc

We also had the chance to catch up with this talented artist. Keep reading for a full interview!

I love how you manage to render your tracks so personal and organic. Does the melody come first, or do you focus on the beat the most?

My appreciations and thank you for the review you constructed of my album. You’re truly exceptional at what you do.

You know, you're the first to ask me that in an interview....there are times when other artists make fair and welcomed attempts to extract an idea by asking how I structure my lyrics or what gave me the idea for a track. Quite frankly, there are times in which I let the beat tell me a story and I correspond with one similar, but verbally....that approach is literally no different from indulging in a cordial conversation with someone who shares a similar view. That's a conversation that'll take you off schedule and make you a few minutes late to your intended destination. Other times, the rhythm of life brings forth that which is within the subconscious. An example would be when you arrive at that destination and don't recall the duration of the drive itself because of mental activity; the time within the drive granted the mind the perfect opportunity to reflect, explore, and bestow the findings to the conscious....I hope that answer is fitting enough.

Do you perform live? If so, do you feel more comfortable on a stage or within the walls of the recording studio?

Yes, but not as often as my peers and others think I should. I'm quite comfortable in both. It's been a while since I actually performed on stage. Like over 10 years. I took a well-deserved hiatus to work on separating the mentality I developed while deployed as a contractor overseas. I won't go into the content of my service, but once I returned, I had to really look at what I had become. Returning to the things I left during the first deployment wasn't a difficult transition because my time there was like a vacation....but the others were a little different....there was a change that I didn't want to be a constant within my identity....so it takes time to truly analyze yourself and be blatantly honest with yourself about yourself....10 years may sound a bit extensive to some, but it was necessary. And even with that passage of time, the stage is nothing foreign nor are the sound-proof walls of a studio.

If you could only pick one song to make a “first impression” on a new listener, which song would you pick and why?

It would, hands down, have to be From Predecess To Tha Predeceed and quite frankly, it's not difficult to understand why if who I am is attributed wisely. FPTTP is an accurate portrayal of identity greater than my observation of an individual, individuals, or an event for inspirational purposes, writing from the position of someone else and projecting what my primitive reaction would be upon aligning with the lesser of choices, or me just having a moment of raw grit because a memory ensued for whatever reason (which is normally to maintain a healthy balance of personal cohesiveness)....FPTTP is what I Am from a point of what I can accurately articulate....some things (thoughts, feelings, emotions, aspects of self, experiences, etc.) can't be explained because there are no words to explain or fully describe them. The articulation of such findings remain sacred until another is met who are operating on or within a similar frequency....and the connection is apparent but nonverbal. All other attempts to express may provide some degree of minute reference. Nonetheless, they will always fall short of exactness.

What does it take to be “innovative” in music?

Innovation - as well as the opportunity to be innovative - is always in existence. From the standpoint of creating music, the opportunities are just as apparent. Being alert of your direct atmosphere/environment (what's happening around you) and staying aware of what your mind is manifesting (what's happening within you) at all times indefinitely, like, really being in tune with what is being imparted to you from your higher faculties and recognizing at that very moment that this is God Mode (a moment of creation), is ideal. Honestly, innovation is inward and dormant until the perfect circumstances occur to awaken it. So all it takes are the tools to pinpoint it for further crafting and the desire to allow it to manifest for universal utilization. And the amazing truth about these tools is that they are already within you.

Any upcoming release or tour your way?

Yes to the releases, and not at current on the tour front. But to all my supporters, globally, I will be looking forward to making the Passport Tour official soon, so don't fret. I want to take time to be fair to this venture I have finally accepted as ordained. Let those that listen and support me and my art have adequate time to “see with their ears” before the visual entertainment aspect is approached. That's out of respect and love for my supporters and exercising patience so every box is checked and no stones are skipped on my behalf. Pebbles are perfect for skipping, but if you skip a stone in life, you'll only get so far before you'll have to return to it, so if I'm going to do it, I'm going to make certain it's done right. I’m not going anywhere; we’ll have a lifetime to connect.

As for upcoming releases, I recognize from projections that the bulk of my fan base and supporters (quite naturally) have been women. So Kosher 2.0 will be liberated this fall along with J.C.L (Just Can't Leave). Both were completed (the rough mixes) in 2015 so I have an archive of content. To expound a bit on what I consider my archive, I've been writing quality lyrics since 1997 and there hasn't been a year that I haven't written at least 8 songs. Some years begat upwards of 20, but never have I fallen below 8. Now, as for performing, I had to extract myself from it and it's not like I was well known during that time, but life took its course and some things were put on hold. Writing was never one of them. I share this to inform my supporters that I have a lot of content to put out that will be somewhat toxic if released "as is"; it is who I was at whatever time period I created it....I didn't become The Elixir overnight. But those experiences I was blessed to fulfill equates to the God Moore I am at current.

Anywhere online where curious fans can listen to your music and find out more about you?

Indeed, I'm on every major music and streaming platform globally for those who wish to listen to my art which can be found on Spotify, Tidal, Pandora, Deezer, YouTube Music, Amazon Music, iTunes, Apple Music, you name it, I'm there. Hopefully, we can provide a few quick links for convenience after the interview is concluded.

Also, if you are a supporter, you are considered a member of the New Freedom Guild. Don’t be hesitant in connecting with me. I’m not on all social platforms, so the connections will be more personal. Link with me anytime and when I’m able and time is ample enough, I’ll respond whether it be directly or live. God Moore is more than a name....it's a movement for positive growth and universal evolution. My ulterior motives extend well beyond the realm of music….when you’re given the mental capacity to upgrade and change the world for the betterment of mankind, and you’re provided a platform and a supportive following, you may tend to cater to obedience. Within the facets extending from forward-thinking to technological advancements, my impressions will manifest. In time, the revelation of this claim will be appreciated. Love you all. I humbly do this for ALL.

Health, Peace, and Prosperity.

Want to listen to God Moore the Elixir:

Spotify

https://open.spotify.com/album/7ckAcuHwFfiOfV8pCOZ4bh

Tidal

https://tidal.com/artist/15657257

YouTube Music

https://music.youtube.com/playlist?list=OLAK5uy_lDAkCqc4uZiNcQki6Drqwv8HNPpOe-IJc

YouTube

https://www.youtube.com/playlist?list=OLAK5uy_k5ghJQF0RUxdt--KT_aD-sZ9seUs9giOc

Amazon Music

https://music.amazon.com/artists/B07R7XXTSV?ref=dm_sh_QbwmIjh3QlD0EM7fC8YPoXJnc

iTunes/Apple Music

https://music.apple.com/us/album/passport-ego-sum-qui-sum/1462118607

Twitter

@MooreElixir

https://www.linkedin.com/in/god-moore-the-elixir-009882188

To generously support The Parsec Council and The New Freedom Guild in our mission of forward advancing our world. I do shout outs on LinkedIn, Twitter, and on YouTube Live:

CashApp

$GodMooreTheElixir

GooglePay

[email protected]

PayPal

https://www.paypal.me/GodMooreTheElixir

YouTube Live Channel

https://www.youtube.com/channel/UCU2GiMFC1WTuBXJlh-MfHuw

0 notes

zagenta · 7 years

Note

I don't mean to be annoying, but what's wrong with liking Hamilton? you don't have to answer btw I understand if you don't want to I just want to know why

It’s… complicated… I don’t even know if I should be the one to explain it. Keep in mind that at any explanation I personally give on the situation is essentially going to be far too forgiving and apologist bc I rly like the musical. Just.. Yeah anyone reading this just keep in mind that I’m inevitably going to fall in favor w the show despite its flaws bc I suck

Anyways for anyone that doesn’t just take the show as a popular thing at face value & therefore popular = good, It’s somewhat controversial bc ppl laud it as this super diverse show full of Pee Oh Cees & but there’s also been some fair critique of the show’s possibly anti-black elements b/c it treats white racist slaveowners as cool hip guys you’d wanna spit bars with.

To be fair, the show is critical of the characters/historical figures but I can understand this criticism bc it only seems to be critical up to a point? Like. Sure Hamilton is a dick for cheating on his wife and TJ is called out for being a demon but it still glosses over some of the more unpleasant & ngl sometimes downright despicable elements of the characters/historical figures, PARTICULARLY the ones we’re supposed to root for such as Hamilton, Eliza, Mulligan, Laurens, Washington, etc.

And perhaps more worryingly although Lin claims the intent is to “put PoC back into American history” (im paraphrasing), the show erases instances we actually do appear in history, such as Mulligan’s slave Cato. Or making a kind of tacky jab at Jefferson abt Sally Hemings—which to be fair that entire song is supposed to have this dissonance between the cheery tune and how messed up TJ actually was, but it’s still… weird.

Tbh I think this was inevitably going to happen bc musicals abt revolution are rly popular but always end up being reproductions of the status quo bc the majority of ppl who support & can afford to see shows on Broadway are rich & white, they don’t want anything too challenging to their worldview.

Also Lin’s not black, he’s Puerto Rican so he has a somewhat tenuous claim to the history he’s trying to reclaim in the first place, other minorities are definitely affected by America’s racism & history but this specific part of history addresses white owners of black slaves.

And he’s using rap a historically & largely black genre to tell the story, too. I mean, there’s overlap between the experiences of the Latinx/Chicanx community and the black community, but they’re not the same. & it doesn’t really have to do with “ownership” of a genre either, but the reception to Hamilton is super off-putting bc a Latinx guy is getting all this praise from rich white ppl while they don’t give a crap abt the rest of the genre. They don’t even get all the homages in Lin’s music. (If you need proof, literally any post by a basic white person talking abt how the rap they like is abt cabinet battles unlike that “other rap” about bitches and money).

(Sidenote: I know a lot of ppl have developed negative feelings towards the musical & while that’s fair I literally give 0 fucks abt white ppl’s opinions on the show. It’s important to listen to criticism from black people definitely but they fail to treat it like the complex phenomenon it is. Too often they have annoying self-righteous superiority complexes bc they think they’re better than the nasty Pee Oh Cees who just don’t get it man.)

Tbh I’m personally unsurprised that the first real hip hop musical to be a big hit is about the whitest thing ever (remember, musicals have to hit that perfect balance of revolutionary and complacent).

Also there’s the problem with fandom too… Like… People have rightly gone “what the everloving fuck” at the realization that there’s a Hamilton fandom at all & I mean that’s completely fair. I personally don’t see a problem with like… Drawing a pretty fanart of scene you like or of Daveed in his Rad Velvet Maroon Suit, but ham fandom is just descending into this huge pile of wtf bc people ship and fangirl and look up weird minutiae abt American history to justify their headcanons and it’s just bizzaro. Also thank god it’s relatively died down bc early on it was just the biggest cesspool of disgusting racism and fetishization & apologism in the world.

“Why do you still like it, Janelle?” Because I love suffering

Now some people just like the musical for its catchiness and artistry and are rightly weirded out by the hardcore fan community, and honestly I’d recommend that approach bc ngl I’m never ever going to forgive myself for being convinced that TJ & JMads were totally a Thing™

But I like both. Honestly I like them for almost entirely different reasons. Honestly at this point if I didn’t think Hamilton was literally a Masterpiece™ I would probably end up hating it just bc there was so much discourse surrounding its hype, but I think it’s just a tribute to how catchy the songs are and how talented the cast is and just the combination of everything that I still love the show despite its problems. I know it’s not great of me but I know pretty much everyone is an apologist of something they like despite its Problems.

& the fandom in my experience is a fascinating phenomenon to me personally bc in my headspace it’s practically this entirely different entity to the musical itself? Like a lot of people think it’s cringey & it definitely is but the entire reason I still am engaged is bc I found my niche of practically a handful of close knit mutuals and Only care about Their Content, except for like… The occasional drawing. Bc our personal niche is so detached from the reality of the show or the history that it’s practically original content & has lead to some rly creative works that are much less Problematic Musical abt Demon Men but with Catchy Songs and much more along the lines of Intriguing Character Studies on the Themes of Parenting, LGBT+ Experiences & Relationships, PoC’s experiences,( and also lots and lots of self-destructive behavior)

I think Hamilton is a very interesting phenomenon. In my personal opinion even in this somewhat glorification, I’m glad Hamilton is getting people interested in history, even if people are way too excited abt it and tread the demon father’s like they were Fun Quirky Guys. I understand the horrifying response to everyones giddiness, but I don’t think it’s wrong to be excited abt history/interested in history even if it verges into dark territory, heck, learning abt history in its entirety important so we don’t glamorize the terribleness that is the past. That’s why posts abt Hamilton’s bisexuality doesn’t matter bc he was a slave owner rub me the wrong way—I mean he definitely isn’t someone we should treat as the pinnacle of ideal representation, but we should also acknowledge the totality of him as a person.

Also the show a good stepping stone that will hopefully lead to more hip hop musicals in the future. I know it being a “baby step” is a rly lame-ass excuse for why the show is good but it’s making me hopeful for the future.

Sorry abt how long this was.

#my asks #long post #anon #mutuals feel free to input or smthng

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airadam · 4 years

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Episode 130 : In The House

"We'll get the drums goin' so you can dance again, don't worry..."

- "Old Man" Ebro

I think it's fair to say that this has been a month like no other, certainly in the UK, where the restrictions on movement that other places in the world were ahead of us on finally came down. These are strange times where we're all trying to get used to new ways of living, but I hope this month's show has some tunes that can lift your mood a little!

As mentioned in the show, Hip-Hop Chip Shop are selling gift vouchers which you can cash in when the restaurant opens back up - and crucially, for every one bought, they'll donate a meal to someone in need!

Twitter : @airadam13

Playlist/Notes

Heltah Skeltah : Operation Lock Down

The sampler 12" for the "Nocturnal" LP made its way onto my turntables this month, and this old 90s favourite wormed its way into my head as a possible inclusion for this episode. I umm-ed and ahh-ed but a chat with someone whose opinion I respect convinced me to go with it. Actually referring to Heltah Skeltah and Boot Camp Clik's goal to lock down the industry, it was a big statement of intent for the Ruck (Sean Price) and Rock, two MCs making their entry to the game. The skills are on display without question though, and this track is notable for being a reach outside their camp for production - E-Swift of Tha Alkaholiks is on the boards for the woozy, dreamlike thump. Big tune then, and unexpectedly fitting now.

Abstract Orchestra : Eyes Up

Great version of a solid Slum Village beat. Abstract Orchestra have been touring and recording for a while with their takes on J Dilla material, and along with the current lineup of Slum Village, they've finally released "Fantastic 2020", a version of the classic "Fantastic, Volume 2" with instrumental and vocal tracks. By the way - make sure to buy the two-disc CD version for all the content!

Voodoo Black ft. LayFullStop : In The Mood

Voodoo Black have been getting ratings here since the start - and it was an honour to have Dubbul O, one of the MCs, here as a guest last year - and so it's with great pleasure that we can talk about their debut LP! "Sitting At The Table" will have just been released as you read this, and it's a lean ten-track collection that does Manchester proud. Ellis Meade, Sparkz, and Dubbul O are joined on this particular number by adopted Manchester daughter LayFullStop, who really does set the mood on top of the DJ Cutterz beat. It's always great to see sustained effort come out on top!

Kombo ft. Vinia Mojica : Sands Of Time

I played the wicked B-side to this back on episode 2 (!), then filed the vinyl back on the shelf from where it occasionally made outings - but only as part of the recent effort to digitise my collection has the A-side really got the deep listening it deserved. Ge-ology on the chilled beat perfectly scores Kombo's love rhymes, and Vinia Mojica keeps it subtle with her vocal contribution.

Little Brother : Altitudes (Flyin' High)

Another great B-side that may have escaped your notice! Back in 2002, Little Brother were making noise on the underground as a promising crew on the rise - one of the first to blow up primarily on the internet - and their single "Whatever You Say" was a mixshow/mixtape staple of the time. Tucked away at the very end of the B-side was this little gem that didn't make the album (but was later heard on "The Chittlin Circuit 1.5"), themed around aviation and featuring classic 9th Wonder production underneath confident rhymes from Phonte and Big Pooh.

Consequence ft. Phife Dawg : No Place Like Home

One of the last tracks Phife ever recorded, this was a great release from last year. These two real-life cousins who both made their different contributions to A Tribe Called Quest over the years come together in an ode to their home of Queens over a smooth beat by Cons and Mike Cash, with Alex Isley on the hook. Yes, that "Isley" does in fact link directly to the famous Isley Brothers - the songwriting and multi-instrumentalist legend Ernie is her father!

Superior Thought : Sky

I was amazed I hadn't played this already - quality sample-heavy beat by a producer and engineer out of London, a 2011 release that feels like it was only out a few weeks ago! Pick this one up on the "S'strumentals" LP along with twenty-three other beats, and all for free!

Clear Soul Forces : Kraken

Always here for some CSF. Ilajide brings the bump as always, and on the mic, all the MCs are representing lovely. This was available on the Fat Beats 25th Anniversary Compilation from last year, but CSF have a brand new LP out which is well worth checking!

Freddie Gibbs & Madlib ft. Anderson .Paak : Giannis

Anderson does his thing here for sure, but Gibbs is unquestionably the star turn on the mic here. Waka Flocka Flame recently admitted being a "wack rapper" but said "my realness overcame my wackness". Freddie Gibbs has the realness and the skills. This is one of the big tunes from his second LP with Madlib, "Bandana", which is definitely worth your time for a listen. The quick line that gives the track its title ("real Gs move in silence like Giannis") might not be the first time someone has referenced a silent "G" in that way, but then Gibbs builds off it immediately afterwards like the elite MC that he is.

The Cool Kids ft. Louis The Child : Super Smash Bros

Tim Dog's "Fuck Compton" was an angry diss. Pusha T dripped with disgust at Drake's conduct on "The Story of Adidon". This? This is... disdainful. Dismissive. The Cool Kids sound like they're just annoyed they had to take time out of their day to address people who aren't coming up to standard. It's also kind of amusing to me that here's a group I remember as the new young artists - now, several years down the line, they are older heads disappointed about how the new generation of youngsters are doing it! Wicked single, with fellow Illinois natives Louis The Child providing the booming beat. Full marks for the inspired sampling of Ebro's rant for the break after the first verse; if you didn't know (and I didn't at first), you'd think this was recorded specifically for this track!

Stic : Motivated

It is so time for a second album of motivational music by Stic of dead prez! The original "The Workout" was an original and welcome release for those in the know, and hopefully the sequel can gather even more of a following. Here, his dramatic production comes through with "Eye of the Tiger" vibes filtered through a Hip-Hop mentality, with a positive lyrical message of pushing forward to victory!

DJ Bombjack : From The Depths Of The Soul

Another one that popped up in my vinyl conversion mission, this is a nice instrumental from a UK DJ and producer from the 1999 "The Brothers Grim" EP.

De La Soul : The Future

Supa Dave West made this one thump! This is the opener on "The Grind Date", and the sampled hook points to an mix of optimism about the future and a determination to shape it. The solid two verses speak on the unquestionably strong legacy De La have carved out over the years - and they're not done yet.

Lisa Shaw : I'm Okay

This was a track from the 2009 "Free" album that I overlooked for a long time in favour of some of the others, but have grown to appreciate. Lisa's voice has the kind of cool clarity that points to the influence of Sade, and Dave Warrin keeps the production low-key to give her space to breathe.

Jazzanova : No Use

A personal headphone favourite which somehow hadn't been played on the show yet! Jazzy (as you'd expect), continental, breezy production from the German production collective, with the kind of delicate balancing of elements that so many fail to master. Clara Hill's lead vocals fit in perfectly, making this a really satisfying listen. The "In Between" album is almost twenty years old, but hasn't really aged at all.

Pete Rock ft. Carl McIntosh & Jane Eugene : Take Your Time

If you've never heard Pete Rock's "Soul Survivor" LP, it's a must-own - he takes an imaginative selection of excellent guests and knocks it out of the park with his stellar production. This is a prime example, where he shows his appreciation for talent that wasn't necessarily "current" at the time, bringing in McIntosh and Eugene of the seminal UK group Loose Ends to lend their soulful vibes. The beat is a relaxed head-nodder supreme, and Pete gets it done on the mic too - not breaking your head open with crazy bars, just staying in the pocket, which is what the track needs.

MindsOne & Kev Brown : Manipulated (Instrumental)

Kev Brown really is one of the best when it comes to those basslines. My god. Serious beat from the 2014 "Pillars" EP.

The Notorious B.I.G. : Hypnotize

A huge tune to finish, one which can't fail to put a smile on your face! I first heard this one in a club, likely just before its official release, and the reaction it got was something special. The first single from "Life After Death", and the last Biggie record to be released before his death, this was a perfect combination of elements. Biggie's rhymes had skills for the streets but still appealed to the club and radio, The Hitmen took the Herb Alpert "Rise" sample and gave it new energy, and Total's Pamela Long nailed the infectious, sing-along hook. Fittingly for our current times, that hook is almost exactly twenty seconds long, making it a perfect timer for thorough hand-washing. So fresh, so clean.

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

Check out this episode!

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biofunmy · 5 years

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Disney’s Haunted Mansion at 50: The Ghosts Are Still Grinning

One summer visit to Disneyland after another, a young Tom Morris stood outside a mysterious set of locked gates, peering up at a stately, old-fashioned manor sitting just out of reach and wondering what awaited inside.

When those gates in Anaheim, Calif., finally opened in August 1969, Mr. Morris and others entered what became one of the most beloved and long-lasting attractions at any of the Disney theme parks: the Haunted Mansion, a macabre ride filled with mystifying illusions, eerie inhabitants and 999 grim, grinning ghosts, having a delightful time in the afterlife.

For Mr. Morris, who later became an Imagineer (a Disney employee who designs resort attractions), every element of the dark ride was fascinating. There was something about the music — the theme song, “Grim Grinning Ghosts,” plays throughout the ride — the smell of the hydraulics, the “old-fashioned showmanship.” He took a spin through the Mansion twice each trip, a rare sign of dedication back when two rides at Disney required two separate tickets. And he found himself doodling pictures of the ride in class.

Surely, Mr. Morris thought, he was the only one with this level of adoration for the Haunted Mansion. Fifty years later, it’s clear that has never been the case.

The Haunted Mansion, treasured as one of Disney’s quirkier rides, has long maintained a fan-favorite status for its distinct balance of the spooky and the sprightly. Varying iterations of the attraction, including the Dutch Gothic-style Tudor version at Walt Disney World, in Orlando, Fla., have become staples at five Disney resorts around the world.

Other rides over the years have come and gone (and been given face-lifts to reflect recent Disney films). But with remarkably little deviation from the original design, the Mansion has been a constant for five decades.

Mysterious From the Start

Built in the early 1960s to resemble an old New Orleans estate, the Haunted Mansion at Disneyland sat vacant for years — its exterior finished, its insides a mystery. The longer it sat, the more the mystique built. An advertisement at the gate for “post-lifetime leases” hinted at the type of ride future visitors might expect: Inquiring spirits were directed to contact Disneyland’s “Ghost Relations” department.

There were rumors among visitors about what had rendered the house off-limits for park guests. Maybe Disney had already tried to open it as an attraction, but the ride had been too terrifying. Perhaps Walt Disney himself was planning to move in, and the house would never open as an attraction.

In the end, the delays boiled down to something more mundane: Between creating other future favorite rides like Pirates of the Caribbean, breaking ground on a new park in Orlando and getting ready for the 1964-65 World’s Fair, Disney’s Imagineers were simply swamped. After Disney died in 1966, finishing the Mansion became a focus.

A creative debate between the project’s two driving Imagineers, Marc Davis and Claude Coats, inspired the Mansion’s complementary moods. Davis was in favor of a lighter, humorous approach to a haunted house. Coats wanted the opposite.

“The beginning of the attraction is more Claude Coats,” his son Alan Coats said. “It’s scarier, it’s more moody, it’s darker, it’s ominous. You think, ‘Uh oh, this is going to be scary,’ and it does really frighten a lot of people when you enter those doors.”

But as the ride’s vehicles, called “doom buggies,” whisk visitors along, the mood starts to brighten — Davis’s influence. Spirits dance through the ballroom, and the journey culminates in an upbeat graveyard party. For many fans, it’s that combination of fun and frightful that has made the ride a favorite.

“I think the Mansion taps into our wanting to be scared and realizing that we made it through safely, that we were able to overcome our fears and deal with them and come out O.K.,” Mr. Coats said.

Susan Thompson, who lives in Lakeland, Fla., spent her first ride through Disney World’s Mansion in Orlando, as a 5-year-old, crying with her head buried in her mother’s side. When she went back a year later, determined to keep her eyes open, she fell in love with watching the Mansion come alive.

Ms. Thompson, now 51, has since acquired her fair share of Haunted Mansion souvenirs: a dress reminiscent of those worn by Mansion staff and a backpack patterned with the manor’s signature wallpaper, among other items. On her twice-a-month visits to Disney World, she always returns to the ride.

For R.J. Crowther Jr., a bookseller in San Diego, the Mansion is the first attraction he has a vivid memory of riding at Disneyland. He’s since been on it more than 200 times, earning him a certificate from Disney staff that declares him an honorary citizen of the park. Mr. Crowther has also collected an “embarrassing amount” of Mansion merchandise, primarily sculptures inspired by art within the ride.

“When you’re younger, it’s just all real and magical,” Mr. Crowther said. “There’s just something wonderfully otherworldly about it that just captures people’s imaginations.”

Alyssa Ottum, another superfan, is planning a tattoo sleeve composed entirely of Mansion-related images: The exterior of the Disneyland manor is already finished, and pieces with the Mansion’s gothic wallpaper and some of the ride’s most famous characters are in the works.

For the 50th anniversary, Ms. Ottum attended an overnight event at Disneyland, complete with ghoulishly named snacks and photo ops with Mansion characters. Tickets went for nearly $300.

Haunted Memories

The Haunted Mansion’s fans extend beyond the ride’s regulars; it’s a favorite among Disney Parks employees, who are called cast members.

“Everybody that says they want to work for Disney?” said Robert Brauchler, who was a cast member for 16 years at Walt Disney World in Orlando. “Ninety-nine percent of the time, they say they want to work at the Haunted Mansion.”

The work itself isn’t extraordinary. Like those at any other attraction, cast members (clad here in green polyester tuxedos and dresses) still spend hours parking strollers in the Florida heat or loading guests into ride vehicles. What sets this attraction apart is how workers, acting as the Mansion’s eerie butlers and maids, can melt into their somber, creepy characters as part of the ride’s ghoulish aesthetic.

“If you’re having a bad day, that’s a great place to be working,” Mr. Brauchler said. “I would just stare at people and just not smile. It’d be like, ‘Hey! You work at Disney; you’re supposed to smile!’ No, I’m not. I would just walk away from them, and it’s all part of the theming.”

Mansion cast members still find time for more upbeat moments: Mr. Brauchler and another employee would sometimes sneak black-and-white photos of themselves into the picture frames in the ride’s ballroom scene. And when employees at the attraction complete their training, they crawl underneath the “doom buggy” tracks — flashlights in tow — to sign their names alongside hundreds of others on a wall beneath the ride.

Some riders, though, have a different way of leaving a mark. Every once in a while, a cast member discovers gray powder on the floor — the ashes of deceased park-goers who had a particular affinity for the ride, spread by loved ones hoping to add another spirit to the Mansion’s collection of happy haunts.

“It was like, ‘Ugh, somebody spread Grandma on the carpet again,’” Mr. Brauchler said. “We’d have to shut the ride down and go investigate it.”

He added: “All these people that think that their loved ones are going to be in the Haunted Mansion forever? Well, Grandma’s getting vacuumed up into a vacuum and getting sent out to the landfill somewhere.”

But there are plenty of other park-approved memorials at the Mansion. Many Imagineers who worked on the attraction were honored in a mock cemetery at Disneyland bordering the ride queue, its gravestones etched with rhyming epitaphs. (The cemetery was removed to make room for longer lines, but a similar one remains in Orlando.)

“At peaceful rest lies Brother Claude, planted here beneath this sod,” Coats’s reads.

It was a bit too dark for Coats’s wife, their son Alan said. She was not a fan.

Voices From the Beyond

Another Disney employee was immortalized in the ride itself. Madame Leota, the Mansion’s floating head who summons ghosts from inside her crystal ball, is the face of Leota Toombs, one of Disney’s first female Imagineers.

Her daughter Kim Irvine, Disneyland’s art director, was a teenager when her mother was practicing for the role. Toombs was the face of Madame Leota, but not the voice, and Ms. Irvine remembers her mother lip syncing the incantation in front of a mirror downstairs for days.

“One day my friends and I came home, and she was down there doing, ‘Witches and goblins and ghoulies!’” Ms. Irvine said. “They were like, ‘What’s wrong with your mom?’”

Toombs did, however, lend her voice to the end of the ride at the California park, where a small spirit — lovingly called Little Leota by fans — ominously bids visitors adieu. When Toombs died, in 1991, Ms. Irvine’s visits to the ride with her own daughters gave them a chance to hear their grandmother’s voice again.

“I always had to laugh when we would be going up the exit escalator and seeing Little Leota over there going, ‘Hurry back,’” Ms. Irvine said. “And I’d go, ‘Girls, say hi to Grandma, there’s Grandma!’ and I’d hear people around me go, ‘What a weirdo.’”

When Disney decided to create an annual holiday-themed makeover for the Mansion, Imagineers needed to record a new incantation for Madame Leota in order to match the overlay. When they approached Ms. Irvine for the part, she was initially unsure — but she knew she didn’t want anyone else to do it either.

Now, every winter, she and her mother are both a part of the ride.

“I go out in the park in the morning before guests come in to check things out and look things over, and it’s so quiet out there in New Orleans before they turn on the music,” Ms. Irvine said. “But Little Leota never turns off. So to walk by the exit there and hear her little voice just talking away to me makes me smile.”

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music-of-silence · 7 years

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Structured learning Didn't think twice when I bought this one, as I had good experience from the David's preceding book about Logic Pro 9. I had some worries, though, that much of the information would be redundant. My worries were needless; the new book primarily focuses on all the new functionality provided with Pro X. This being said, it's still a book that covers/brings all the basic knowledge you need to have to work with Logic. These training books are certified by Apple, so they hold a high quality. I specifically like the consistent step-by-step approach. Everything is explained in detail and illustrated by both pictures and easy-to-follow guidelines. The book comes with comprehensive audio and project material, which is great when you need to be hands-on. I bought the ebook/ iPad Kindle version, so had to download the files from the publisher's web site. It went easy and smooth. All in all, I can only recommend this book. It covers all main aspects of music creation with Logic Pro X, without being cluttered or diving too much into depth. It keeps a good balance between essential information and information for general understanding. Lastly, I need to say that this is not for everyone. If you don't wish to read 500 pages while doing your hands-on exercises, I would recommend to use video-based tutorial services like those provided by macProVideo.com instead. They're really great too! Go to Amazon

Great Book I've only gone through the first few chapters but learned so much. I am a beginner with Logic so this was exactly what I needed. I guess this is why it is the Apple Certified Method. Go to Amazon

Great book - well written overview of Logic X and using a DAW (Five stars when read with the PDF updates file) Go to Amazon

Excellent Book!!! This book is great. It gets you started off on the right foot by explaining Apple loops and how you can use them to quickly put together a song. By the end of the first chapter you will have created a hip hop song just using loops. It gets into audio tracks, the use of the virtual Drummer feature, how to use the various elements of MIDI, the built in plug-ins and much more.Its pretty comprehensive and each chapter builds on the last. So you learn shortcut commands and how to navigate the interface because you continuosly use some of the same methods throughout the exercises. The thing I really like about it is it takes you step by step through the features with hands on exercises and quizes at the end of each chapter. This book is the official training book if you want to take the Logic Pro exam. Go to Amazon

Excellent Resource for New & Experienced Users of Logic X! This book and accompanying DVD provide an excellent learning tool for all Logic X users. The book follows along and explains in detail the sample projects that are included in the DVD allowing the reader/user to gain continuous hands-on experience while learning the software in detail. And, for those anxious to get started (like I was), you get to create a song immediately! I have explored many resources in my ongoing quest to "master" Logic X software and I believe David Nahmani's books (I also used them for Logic 8 & 9) are not only the best way to get started if you're new to Logic X, but also a great way to continue learning/refreshing/perfecting all of the recording techniques, etc. associated with this software. I have not found the combination of "book instruction" combined with the "hands-on interaction" of the DVD anywhere else and it has helped me tremendously. Go to Amazon

In-depth, step-by-step -- overall excellent book This book takes a methodical step-by-step approach to Logic Pro X. That said, it's hardly dry. It's clearly written by someone who is an excellent communicator/teacher, has a music production background, and knows Logic Pro X extremely well. I wasn't new to Logic (I've owned previous versions) but never took the time to completely master it inside out. The book is an excellent value and a great way to learn Logic Pro X. Go to Amazon

Great Book, bad timing on the new version release The content is super great and the presentation is also. However, 10.2 came out just as I received the book and there are a lot of updates to be made to perform 10.1 drills with 10.2 on your computer. The author has created all of the errata to update the book, and there is a lot of updating, but I'm left wishing that there is a Logic Pro X 10.2 book instead. In all fairness, if a 10.2 book is available, 10.3 may be released and we may be back where we started. It seems that Logic Pro X version releases and How-To books are just not well coordinated. Go to Amazon

Exactly what we were hoping for. too bad books as those are static cannot keep up with ... Best book on learning the ins and outs of Logic ... The only Logic Pro X book worth buying! Four Stars Just buy it, it is SOOOOO worth it! AMAZING MANUAL!!!!!! (Learn Step-by-Step by The Guy Who Wrote The Book) The examples in the book are clear and the coursework in class supplemented the book material very nicely. The book covers what' If you use Logic you need this book. gets the job done. i'm only half-way through the ...

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symbianosgames · 7 years

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The best games are a slow steady learning process.

They teach and guide while they entertain and challenge. They push players to improve steadily — to master a mechanic not by forcing you to scale a metaphorical wall, but by compelling you to climb a series of metaphorical steps.

This does not necessarily mean they have great tutorials — indeed, many games with awesome learning curves throw you straight into the experience proper. Nor does it mean that they have to dumb down their design. It's simply a matter of crafting progression systems that allow the player to get a handle on the fundamentals early and then to grow and improve at every stage after that.

It's not easy to pull this off. To give you some guidance as to how you can execute a brilliant learning curve, we asked several designers to tell us what games they think do it well.

None of the seven examples that follow are easy games, but all of them meter their difficulty with a well-considered learning curve.

From the moment the player wakes up in protagonist Chell's minimalist living quarters, Portal gently prods her forward. As Global Game Jam co-founder and Rochester Institute of Technology assistant professor Ian Schreiber notes, "the entire game is basically a tutorial on how to beat it, except it expertly frames the learning as gameplay." Portal challenges by crafting puzzles around new mechanics and new applications of existing mechanics.

It allows all the time players need to get comfortable with the controls or to think about how to solve the next puzzle, and it scales the difficulty by simply incrementing the complexity.

What you learn in completing one puzzle is needed to figure out the next one, and you have environmental cues that indicate what you need to learn or do (though not how to do it). Some cues are subtle such as the position of sentry turrets, while others are obviously instructional like the warning signs at the entrance to each test chamber. And thanks to these cues there's a clear progression from using portals to walk through a wall to using them for high-speed platforming.

TAKEAWAY: You can simultaneously teach and challenge players at the same time if you weave the learning experience into the environment and level design.

All of the Burnout games do a fine job of introducing faster cars and tougher races and challenges at a comfortable pace. But one deserves special praise.

"I absolutely loved Burnout 3," says Corey Davis, design director at Rocket League developer Psyonix. "The pace of acquiring more powerful cars lined up really well with my mastery of the boost system, crashing opponents, and track knowledge."

Each new car is just the right amount faster and stronger than the previous one to maintain an even challenge level and not pull the player out of their depth. The crafted tracks and frantic high-speed tussles with rival racers grow more intense as the player progresses, and there's a rewarding and fun experience for anyone to find — veteran racing junkies, casual fans, and newcomers alike.

TAKEAWAY: You need to constantly test players and push them to execute tougher maneuvers as they improve their mastery of the core mechanics, but there's a fine line to straddle here if you want to keep both inexperienced and experienced players engaged from start to finish.

Much like a real instrument, Guitar Hero offers an intensely satisfying learning curve. It arguably even outdoes a real guitar in this respect, as it provides more useful feedback and gave the player ways to play along to their favorite songs regardless of skill level — the chosen difficulty level affects the number of notes to play and fret buttons to hit. It also adds an extra layer of progression by dividing songs into a "setlist" of increasing difficulty — so the challenge ramps up song by song as well as by difficulty level.

Davis praises this design decision. "I never felt like it was cheap; it felt purely like I needed to get better," he says. And the feedback loops both on the screen during play and intrinsic to the challenge of mastering the twin difficulty systems combine beautifully with the simple joy of making music — of mastering hit rock songs.

TAKEAWAY: Multi-tiered learning curves can let players control their own challenge level and rate of progress, and also provide a clearer indication of how much harder the next stage will be.

To someone who's heard about but not played the infamously-difficult Dark Souls, it may seem like a strange inclusion in this list. But extreme challenge and a good learning curve are not mutually exclusive. "The difficulty escalates very nicely," says Red Hook Studios creative director Chris Bourassa.

"Just as you start feeling overwhelmed, you find yourself back in Firelink Shrine," he continues. "It's a clever use of the town hub as a thematic downbeat, and works like a chapter break in the game. As you catch your breath, you can look forward to a meaty jump in difficulty as you set off to the next area, followed by another smooth curve."

Cthulhu Saves the World designer Robert Boyd made a similar point in his 2012 analysis of Dark Souls' design

TAKEAWAY: High difficulty does not necessarily equate to a too-steep learning curve, as Dark Souls exemplifies.

Bourassa also praises the learning curve of real-time strategy/action-RPG hybrid Warhammer 40,000: Dawn of War II. Specifically, he was drawn in by its tension between threat and empowerment. It gives the player confidence to try things and to experiment with new combinations of strategies thanks to a steady trickle of loot and new units. "I always felt confident heading into the missions," says Bourassa, "even when that confidence was misplaced."

The smaller-scale structure of Dawn of War II's campaign missions in comparison to traditional RTS games helps, too. Short missions with small groups of units battling other small groups (and little or no base building) reduce the need to master micro-management and instead allow the player to learn and adapt as the situation demands. The skirmish multiplayer mode doesn't share this well-balanced learning curve, though, as it's too different to the campaign for knowledge transfer and new players tend to get annihilated.

TAKEAWAY: A good learning curve balances danger or challenge with player empowerment; it gives the player a taste of both failure and victory and makes either feel like a learning experience.

Ironcast is the rare genre-mashup game that gets the blended elements to fit together. It's a Puzzle Quest-inspired tile-matching puzzler with a touch of roguelite adventuring and steampunk-themed resource management and mech-bot warfare.

Bourassa notes that while it looks straightforward at first, it's actually a deeply layered experience. "They do a lot of interesting things with the mechanics at all levels," he says, "and I found the meta-game quite engaging."

The player gathers resources from the tile-matching mode, which they soon learn how to use to engage in full-on turn-based mech combat that involves a range of abilities and strategic and tactical decisions. If they lose a battle, it's game over, but certain upgrades and unlocked mech pilots remain so that they can still feel a sense of progress. All the game's complexity is metered out in such a way that you have time to get comfortable with new mechanics before your skill with them is tested. And the upgrades enable new strategies rather than simply incrementing the power of your weapons and shields.

TAKEAWAY: You can ease players into complexity and surprise them at the same time by starting simple then repeatedly upping the stakes and stripping back the layers underlying the gameplay systems.

The original Super Mario Bros remains a masterclass in game design, and a big part of that is the expert manner in which its difficulty ebbs and flows — a small spike at the beginning followed by a gentle upward curve that has additional spikes at the end of each of its eight worlds (as Mario nears and then battles the world boss).

It's also a great example of how to teach a player without tutorials. "It introduced most of the core concepts in World 1-1," says Schreiber. It didn't explicitly explain anything, but rather left the player to explore and discover the mechanics simply by trying things.

You may not go into the game knowing that enemies die when you jump on their heads and that blocks with question marks on them give coins or items (or what those items do), but you can stumble on these concepts within seconds and extend your understanding of how they work over the duration of the game.

TAKEAWAY: Classic games still hold great lessons in game design, and Super Mario Bros in particular is a shining example of how to quickly introduce the core concepts and then playfully explore their permutations over the rest of the game.

There's no point developing a great game mechanic if only a tiny percentage of players can figure out how to use it. If you're striving for challenge, be fair, and remember to allow players some time to acclimatize to their new-found skills. You need to both give your player the appropriate tools and teach them how to use these tools before you ask them to scale a cliff or make a seemingly-impossible leap.

If you're not trying to make a difficult game, remember that great learning curves should have small spikes along the way to challenge players and test their mastery of the mechanics or to introduce new mechanics.

Most importantly, consider that teaching people how to play your game is not just a matter of telling them what to do and then leaving them alone. Nor is it about micro-managing their experience. You need to let them play and experiment and to ensure that when they fail they can understand why. Mistakes and successes alike should improve their mental models of how your systems work. And they should drive your players to get better at your game, not to walk away.

Thanks to Corey Davis, Chris Bourassa, and Ian Schreiber for their help with putting this article together.

#IFTTT #Blogger

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cjostrander · 6 years

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Thirty Seconds to Mars: Love, Lust, Faith and Dreams

Hello everyone i’m back to do an anniversary review for you guys today. I was planning for this to be both a promo and an anniversary one but just as i was about to set this up for review; they go and drop a new album called America. Be warned that it is essentially a pop record this time around; but actually isn’t half bad for them. It was basically expected to come from them at some point and is going to feature on this blog relatively soon. This album on the other hand is continuation of the sound from their This Is War album (reviewed). Let’s get this nearly five year old album started and see how it stacks up to their last album. I’ve also been really binging on their self titled debut album and recommend further checking that one out since its very different yet complex as well (reviewed as well).

Birth: We begin the album with a soft drum beat before thematic brass arrive to fill the air with tension. Jared enters to slowly deliver some dramatic verses without becoming excessive in his length. The classical elements do very well in establishing a strong mood for the album and engages with synths at the end; which helps to bring froth elements from their previous albums. It is more of an intro track however so i will not give it a score. 0/0

Conquistador: This song begins with a nicely groovy drum beat and guitar riff. Jared begins over this beat and soft key section to deliver some spaced out yet effective verses. The backing verses do very well to help establish a pump up atmosphere and provide effective spacing between Jared’s verses. The lyrics do a decent job of grabbing focus on their own but could use a bit more push at times. The chorus does help alleviate that regard by adding in a little more aggression into the song. This will help it to be a fair pick to start the album off as well as be a decent track to play live. Not sure about a concert starter but definitely something to space out their slower moving songs. 8/10

Up in the Air (Single): This single begins with a nice guitar/synth opening and electronic drum beats. The backing choir vocals help to establish a nice sense of life and Jared arrives with a nice sense of groovy life. The synths do very well to give the song a dance club like feeling which will do well to justify its single status. The lyrics prove to be rather interesting to focus on and should help to provide the listener with something fresh to see from the band. It is a little lengthier of a song so expect it to be more of an engaged listen as well. The thematic verses towards the end are very soothing and the echoed drum/key foundations creates a blissful atmosphere that resonates very firmly with the theme of the song. This is definitely an interesting piece to check out during one of your more complex moods. 8/10

City of Angels (Single): This following single begins with soft synths fading in with a very soothing atmosphere. It creates a rather engaged sense of beauty that will very theraputic to focus on late at night. The combination of synths, drums, and keys are a very interesting combination that manages to mesh rather smoothly. Jared takes on a slightly layered but highly emotional vocal stance that will do very well to connect with the listener on a deep level. The lyrics help make his efforts worth it due to their heavy substance and clear coherency. The length of his delivery avoids coming off as drawn out and is expertly done for this song. The instrumentals luckily take ample time to develop some complex interlude segments to stretch this song out further for the listener to joy. So far i would definitely note this song as a highlight track, a strong single pick, and a heavily complex piece. Check the music video out as well because it should provide some added pleasure when listening. 10/10

The Race: This song begins with a strongly tense string opening before engaging with a dance driven synth; which proves to be rather groovy before Jared arrives. He arrives casually with a strong sense of tension which reflects the instrumentals rather nicely. The backing chants are a smart trick for elevating the song’s ambition and especially adds a refreshing sense of energetic turmoil to the chorus. The lyrics are heavy substance yet again and will be very nice for the listener to focus on as the song progresses. It definitely helps to set this album as a very nice listening piece to reflect on. It ends with a more conventional rock structure which does take a little life out of the song; but does help to set up for the next song. 9/10

End of All Days: This middle track changes things up by beginning with a solo and deeply emotional key opening. It feels very atmospheric and complex before Jared arrives with a call and response type structure with the keys. The lyrics are a little low to fully focus on at first but do develop a strong sense of conflict in the listener. It’s another fairly decent piece to focus on during a rough day; but is very straight forward and vocal dominant. This will help to slow things down in the complexity department just enough to avoid becoming exhausting but still remains undeniably complex at the same time. Picture this one as a late night drinking kind of piece that you could picture in a movie during a moment of despair for the character. 7.5/10

Pyres of Varanasi: Some audio effects begin this one with a slightly organic texture before classical strings and a low bass begin. It has a bit of a Muse like vibe before the Synths begin to take on a more aggressive stance that will provide a nice sense of motivation for the listener to encounter. This is strictly an instrumental piece before Jared arrives to provide some holistic verses to further establish the song’s organic dance atmosphere. Definitely a nice piece at this stage in the album and would actually be a good piece to play live right before the band takes the stage. 8/10

Bright Lights: Keys and low backing chants begin this one with a very positive atmosphere. Jared’s voice arrives to further infuse the song with a cheerful tone. His lyrics capture the focus with ease due to their heavy substance but simplistic structure. Jared’s casual yet focused delivery is certainly a strong technique for him to have, which will help him to certainly stick out as a singer. Other band’s certainly try for the approach that he has but very often it comes off overly drawn and boring at times. With this album the band seems to capture the dynamic and succeed with the level attention from the listener that they are aiming for. 8/10

Do or Die (Single): This is the final single of the album and it begins with a very atmospheric synth before the drums arrive to add in a very cheerful and energetic tone. Jared then begins his verses with a nice sense of charm and energy. He still retains his slow and focused style; but retains an even high sense of life and excitement in it. The synths will do well to help keep the listener from lulling off a bit and will retain a nice degree of energy from this song. That’s definitely one interesting trait that the album has because you would think of it as an album to unwind to before bed but its actually a very uplifting piece both emotionally and energetically. It’s not workout material of course but will definitely refresh before you have to go out and tackle a project for the day. 9/10

Convergence: An interesting key and synth opening begin this piece on a very organic tone and will surely further relax the listener. It contains a rather complex instrumental structure that still takes time to incorporate a little guitar into the mix. It is a short interlude piece but it does very well at bringing forth additional diversity in the album and makes the most of itself with the time that it does have. 10/10

Northern Lights: Guitars and an echoed drum beat begin this one with a rather blissful night time feeling. It is a very nice balance between conventional instrumentals and the synth pop elements that the album has been experimenting with. Jared leads with a very commanding voice that sticks out even more than usual. This can be considered the finale track since i do believe the next on is similar in purpose to the first track. I actually would love to see this one being done live due to the instrumentals since they are very complex and unique; while Jared’s spectacular vocals further cement this as a standout track for the album. Definitely make sure that you take the time to check this one out if you are browsing; but this album really is one that you need to listen to in sequence in order to truly appreciate and understand their work. 10/10

Depuis le Debut: This actual finale piece begins with Jared delivering a more acoustic style of vocals that breathe with complexity and purpose. The acoustic riffs are a decent change up that create a sense of fitting farewell before the synths muster themselves again to bring a climatic sense of rush to the listener. The strings will be greatly appreciated and almost trick you into thinking that this is the start of a double album ha ha. 0/0

Overall album rating: 8.8/10

Well this solid masterpiece by the band takes the top spot for my reviews for the band. It beat This Is War by a margin of .3 which is a nice feat to have for a successor album. I definitely recommend checking out this and any of their other works. Even the new pop album from them displays a strong sense of interest and complexity even if it contains a bit of a more mainstream vibe. I have to head out to class now so enjoy your day everyone!

*Reviewer’s Pick*

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cjostrander · 7 years

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Cheap Trick: Self Titled 97′

Hello everyone; this is the 13th album by Cheap Trick and is notable as their second self titled album. It is 20 years old today and was given the title with the intention of being presented as an opportunity for the band to present themselves to a newer generation of listeners. Unfortunately they pick a poor label choice that declared bankruptcy only three weeks after this album was released. This most likely threw a damper on their ambitions with this album and is equally likely to have influenced their decision to have gone through indie labels since. Because of that failed promotional attempt; i will give this album some publicity so that you guys can at least hear of it. I had In Color left to do by this band for the year (has I Want You to Want Me) but this one seemed more interesting to take a crack at as my time winds down for this years anniversary reviews. Hope you have fun reading!

Anytime: The album opens up with some groovy drum beats that have a bit of an 80′s flair to it before the guitars arrive to infuse it with a soothing night time melody. Robin contains an echoed layer to his voice which further does well to create an enchanting atmosphere for the listener to engage. Robin goes into some aggressive shouting vocals while the guitars maintain an interesting rhythm approach. The backing harmonies help to give him a nice lift and infuse subtle traces of their psychedelic melodies without throwing the rock edge off. It is actually a rather refreshing piece to play late at night and will help you to unwind rather smoothly. It is a low energy piece that relies heavily on the vocals to maintain momentum so don’t expect hard rocking riffs on this track and just enjoy the easygoing flow. 8/10

Hard to Tell: The guitars enter rather quickly with a relaxing yet melodically pleasing set of riffs. The drums keep things going steady while the bass helps to fill some spacing in the mix. Robin’s vocals are pretty straightforward and infuse it with a nicely calming approach without appearing to lack life as a whole. The lyrics are rather decent and will provide a fair sense of substance for the listener to engage with. The guitar melodies on the other hand are decent but will become familiar with 90′s sitcom rock of the time. This kind of gives it a fitting mainstream tone to coincide with the era and their attempt to recapture the success of their late 70′s and late 80′s era. Unfortunately for an attempted rebirth album; it’s proving very tame and easygoing; which causes it to lack the bite needed to really engage the listener. Not a bad album at all just comes off as toss-in among their others based on what i’ve heard so far. 7/10

Carnival Game (Single): This is the first single on the album and it begins with some soothing hums from Robin and easygoing guitar riffs. The subtle rhythm in the guitars helps to keep the drums feeling purposeful and Robin’s lyrics will garner a fair share of attention as they flow on. The chorus is actually really engaging and succeeds due to a dire sense of emotion coming from Robin and his band mates. Its emotion is a good achievement since it allows the slow and easy-going approach of this song to actually have a sense of interest on the listener’s part. As a single; it does a fair job of offering the listener something a little less cliche and ballad centric. The guitars do a lot better job of sticking out due to the timely placement of a cheerful solo towards the end. I could see this being a fairly decent live piece to brighten up the mood in between their more ambitious rockers. 8/10

Shelter: Now this is a bit of an oddball that sees the band channeling their psychedelic ballad side again. Keys and subtle acoustic riffs provide the main instrumental foundation while Robin delivers a nearly Christmas like tone to the listener. The lyrics appear rather meaningful don’t really come off as interesting on the listener’s part unfortunately. If it had a little more vocal variation from Robin to change things up; it would hold more interest and give the lyrics more of an impact. The inclusion of strings and interesting drum echoes help to give it a better sense of texture and a little more complexity as well. I would of possibly put this as a closer piece because on first listen; you feel pretty content to stop listening after this without feeling a real urge to continue on. 7/10

You Let a Lotta People Down: Finally a fucking rocker (even if it is still slow); The guitars begin with a pleasing sense of emotional tension while still retaining the blissful nature of the album. Robin has a nice sense of gloom in his voice that is emphasized nicely by the tension of the guitars. Robin pours a stronger sense of effort and life into his delivery this time; which will easily make this one stand out as a stronger track on the album. The lyrics are a pleasant focal point till the guitar solo arrives to give the listener a nice sense of musical charm. This would of been a decent piece to see live since i could easily imagine it fitting in with their other work (old and new). Long story short; if you are browsing the album then this track and the next are the ones that will have the best chance of making you consider checking out the rest of it. 8/10

Baby No More (Single): Now this is the heaviest song on the album and begins with a speedy drum beat and roaring guitars. It has an old school rock tone to it that their latest album (we’re all alright) is so remarkable for. The vocals have a nice sense of grit and aggression; which will do very well during a live performance. The production could of made the guitars a little louder since you can still spot emptiness in the song; but the significantly stronger dose of energy will help to prop the listener up a bit as they start the second half of the album. 8.5/10

Yeah Yeah: The guitars begin with a nice sense of energy and driven ambition. The vocals arrive over the layered guitar rhythm to deliver a very melodically calming atmosphere. The vocals actually make a strong impact on this song and the lyrics do a good job of push this one along. When combine with that guitar rumble it gives the song a strong level of engagement that would stand off rather ambitiously (despite being so simple) during a live performance. The use of audio samples during the latter half help to bring in a new trick to try before returning to a rather emotional drawn high note from Robin. This is another high point in the album that i firmly suggest checking out during your first listen. 8.5/10

Say Goodbye (Single): This is the final single on the album and acoustic riffs arrive to infuse a dire sense of tension as Robin seeps his vocal melodies into the mix. When the drums arrive it develops an emotional sense of pain that Robin resonates with the listener rather easily. This gives the lyrics a strong sense of substance and the bass does a good job of finally sticking out on this one. Already i can note this as a good single pick and as a strong contender for a live performance as well. It does well as a ballad piece and is placed decently on the album to give it a winding down feeling; while still giving the album some extra much-needed oomph. 8/10

Wrong All Along: The drums begin with a lively opening and the guitars infuse an old school rock n roll vibe into the song. Robin takes on a much grittier delivery which will help to infuse it with a strong sense of energy while still keeping things feeling rather balanced. The live potential is clearly there and it could of been a strong pick for a single due to its highly enjoyable guitar solos and aggressive demeanor from Robin. So far this second half of the album is so much better! 8/10

Eight Miles Low: Some guitar static begins this piece before the vocals take things on a rough approach at first. It quickly shifts into more melodic vocals but the backing ones give it an interesting sense of chaotic flair to contemplate over. The lyrics are decent and will capture some attention; but that backing screech does begin to grind on you as it continues to return. The guitars could of used some more engagement rather than being comfortable in their support role. This one isn’t a bad piece but certainly can give you plenty to knock on if you feel up to it. One more track to go and this album will be off of the list. 7/10

It All Comes Back to You: This finale track begins with a farewell ballad type melody. The guitars and keys give this song a complex echo type melody that is rather interesting when you first encounter it. Robin is a bit too muffled in his delivery in my opinion since it kind of screeches on the ears a bit. If he was a little more clear the instrumentals would of emphasized them much better. He does offer some cleanliness during the chorus that will feel reminiscent of Liam Gallagher and offer you insight into what it would sound like; if this band decided to do an Oasis cover. Since both bands are Beatles fanatics; that wouldn’t be a real stretch to make for either of them. The keys are a rather nice element in the latter half since they are given some freedom to play around a bit with the safety of the bass rumble keeping them supported. It turns this into a decent closer (not phenomenal but interesting) that will give the listener something a bit more complex to mull over before the album ends. 8/10

Overall album rating: 7.8/10

Well; this is definitely one of the more boring albums from the band. The songs have a decent level of potential but really needed more life to them and a lot more rockers verses ballads. It makes for a fairly decent night time album to play before going to sleep but is easily in the bottom half of the album’s rank wise. It’s worth checking out once you hit their highlights and are in the mood for something else; but don’t expect to be in awe. Their 90′s era unfortunately was their weakest musically personally due to label issues throughout that time. Good thing it is off the list and now the album has another opportunity for people to discover it 20 years on. I’m not sure if i will be doing a review tomorrow due to holiday plans; but if i do i will pick something better for you guys. I was actually expecting this one to score better than it did; but the reviews speak for themselves. Hope you all enjoy your weekend!

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